Tag Archives: presentation at Court

In Lieu of Champagne: Mrs Daffodil’s One-Thousandth Post

 

Mrs Daffodil is pleased to report that to-day marks an anniversary of sorts: the one-thousandth post on this site. Mrs Daffodil should enjoy breaking out the champagne for a toast, or at the very least, passing around a box of chocolate cremes, but, alas, this is impracticable, since her readers are scattered all around the globe.

In lieu of champagne, Mrs Daffodil will share her reader’s best-loved posts and some of her own favourites, interspersed with some cuttings from her fashion scrap-books.

gold sequins sun king fan

“Sun King” fan with tinted mother-of-pearl sticks and guards and shaded copper and gold spangles, c. 1880-1910 https://www.google.com/culturalinstitute/beta/asset/fan/xAG2xDgj6hb8LA

Although it is difficult to choose from posts so numerous and wide-ranging, three of the most popular posts shared by Mrs Daffodil were

How to Make Stage Lightning and Thunder: 1829-1900

Men Who Wear Corsets: 1889 and 1903

Strange Flower Superstitions in Many Lands

A guest post by the subfusc author of The Victorian Book of the Dead on Bad Taste in Funeral Flowers: 1895-1914, also made the top of the charts.

Posts about the contemporary costs of fashion were quite popular.

The Cost of a Curtsey: Court Presentation Expenses: 1907

Where That $10,000-a-year Dress Allowance Goes: 1903

What Gilded Youth Spends on Its Wardrobe: 1907

The Cost of a Fine Lady: 1857

As were stories of how to dress nicely on a budget:

Dressing on $50 to $200 a Year: 1898

How To Be a Well-dressed Young Man on a Budget: 1890

spring green Callot orientalist

1923 Callot Soeurs orientalist dress http://kerrytaylorauctions.com

Some of Mrs Daffodil’s personal favourites include

How to Dress (or Undress) Like a Mermaid: 1868 to 1921

A Children’s Christmas Cottage: 1850s

How to Entertain with Impromptu Fruit Sculpture: 1906

A Bashful Bridegroom: 1831

 

The Dress Doctor: An Ingenious Lady’s Profession: 1894

A Ghost Orders a Hat: 1900

The Angel of Gettysburg: Elizabeth Thorn: 1863

A Shakespearean Contretemps: 1830s 

stumpwork casket with garden

Stumpwork casket with a garden on the lid, c. 1660-1690 http://www.royalcollection.org.uk/collection/39240/stumpwork-casket

Mrs Daffodil thanks all of her readers for their kind attention and she would very much enjoy hearing about their favourite posts on this site in the comments.

 

Mrs Daffodil invites you to join her on the curiously named “Face-book,” where you will find a feast of fashion hints, fads and fancies, and historical anecdotes

You may read about a sentimental succubus, a vengeful seamstress’s ghost, Victorian mourning gone horribly wrong, and, of course, Mrs Daffodil’s efficient tidying up after a distasteful decapitation in A Spot of Bother: Four Macabre Tales.

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An American Girl at Court: 1891

AN AMERICAN GIRL AT COURT

As Told by Herself

[UNDER THE LITERARY CHAPERONAGE OF MRS. L. B. WALFORD]

At last the great day had come! I, the daughter of a republic, was to be presented to Her Majesty, the Queen of England and Empress of India! It would be ridiculous to say my heart didn’t beat; it did; it just thumped, and banged, and seemed to keep saying to me: “Remember, young woman, that you represent a great and glorious country, and that in bowing before this woman it is your pleasure, not because she represents a great monarchy, but to you she symbolizes the finest type of womanhood, as wife, mother, and queen.”

For weeks before I had thought of my dress, my train, my courtesy, my bouquet, and all the important belongings that go to make a woman look as she should on as great a day as this. I laughed to myself when 1 remembered that one of my sisters had written and suggested that a long-trained dinner dress that I possessed might be “made to do.” “Made to do,” indeed! A court costume must be just so; its length is three yards and a half—that is, that much of it must lie on the floor—and if it’s one inch shorter or longer, the Lord Chamberlain can do something to you. I don’t know exactly what it is; probably put you in the Tower. The presentation dress is always white; the material, satin, silk, brocade, or velvet, as one prefers, the petticoat, which is, after all, nothing more or less than an ordinary ball dress, being quite separate from it, for the train usually falls from the shoulders or the waist. I had rehearsed in it before the looking-glass until it had dawned on me that there was nothing in the world in the way of dress like a court train as far as being a terrible burden is concerned; happily it is only down for a few seconds, during the actual ceremony, and the rest of the time is carried about over one’s arm. Gloves, fan, those most important belongings, the feathers, and the long tulle veil were lying beside my gown, and the whole thing looked like a fluffy, filmy something that seemed to have fallen down from the clouds and to have belonged to the fairies. The most important thing in the house, next to me, is a full-length mirror, and although I have practiced and practiced, I still go before it and make that awkward “bob” which is demanded by the English Court, and which is about as ugly as it very well can be. It must be very deep, and accompanying it must be a quick motion of the hand, whereby the royal hand that is before me is raised very, very gently, and my lips are bent to meet it.

A great many girls have gone to dancing masters to learn just what they should do, but my chaperone insists that the girls who have shown the most ease and dignity are those who have been taught what to do by either relatives or friends. She has also told me that neither the Queen, nor any of the rest of the court, have much patience with very slowly-performed reverences, because they suggest either the parvenu or the rustic. I draw myself up with an immense amount of pride as I think of my being mistaken for a parvenu; I, who had an ancestor who signed the Declaration of Independence. For a minute I am almost tempted to let the royal family know that I did not care for an introduction to them, but then I thought ii was one of those things in a lifetime that were events, and so I must go through the experience.

Before I start out I have to remember a few things. I am to take hold of the Queen’s hand, I am only to touch it gently, and I am not to really press my lips upon it. Then after that I must remember to make the ten or twelve reverences to the line of princesses and princes at the Queen’s left hand. I am not at all troubled about that; it’s the bowing before the great, grand woman that makes my heart throb, and that causes me to almost pray to do what is right. I say to myself, “Patty, keep thinking of the goodness of the woman, and next to that of the credit you must be to your country.” I do keep thinking of this until it’s time for the hairdresser to come. He was engaged weeks ago, and he can’t be kept waiting a moment. He is here, and I am just ready. With quick fingers he arranges my hair the pretty, soft way they are wearing it, and places the three feathers in the received way, so they stand up almost straight and are distinctly visible from the front; certainly they are not becoming. I remember the story about Mrs. Langtry, who at her presentation arranged her feathers in a becoming way rather than the approved manner, and had to go back and re-arrange them. I have a tiny face, and it does seem like such a lot overtopping it, however, but they must be seen. It is the “regulation,” and I must submit like all the rest. Then my veil is arranged and my bouquet comes. It is of white lilac, lilies, azaleas and roses. My chaperone. being married, is gowned much more magnificently than I am, for “regulation” permits her to wear any form of rich material, and of any color, so her bouquet is of violets and amber orchids, to match her dress. But I—well, I must confess that I do look like the proverbial lily—I am all white, and though my chaperone has the advantage of many colors, I feel perfectly satisfied with my own immaculate looking gown. And that does give one such a supreme satisfaction! One could meet the king of the Cannibal Isles.

Now I stand up ready to depart. The children in the house and all the maidservants are collected to see me, and everybody says “Oh,” and “Ah,” and walks around me as if I were a doll on exhibition, and, indeed, 1 feel like one. One romantic maid gives a sigh and says, “I think as how I will go over to Ameriky, marry a rich young man there, and come over here and be interjuced to the Queen.” Bless her heart! You see even the servants in England realize the advantage of being an American. Off we go to the photographer’s, and before I am pictured in all my finery I have a cup of tea and a bit of something to eat, because I shall have no opportunity to get anything to eat during the day. I try to look natural, but only succeed in appearing magnificent.

Into the carriage again, and we approach the palace by the way of Marlborough House and the Long Walk, because that’s a pleasanter way to go. The great bouquets on the breasts of the men on the box tell the public that we are going to a Drawing Room. A glimpse in the carriage and a sight of those hideous plumes might have announced this. When we get to the Long Walk there is a long, long time to wait, anything from an hour and a half to two hours, when we stand as still as mummies. There is nothing to do but look at the crowds who are staring at us. Suddenly the horses move one step; I have been to too many balls at home not to know that the gates are open and that one carriage is unloading itself. My chaperone guesses what I think, and says, “You believe that the people are getting out of one carriage, don’t you?”

“Certainly,” answered I.

“Well,” she said, “Buckingham Palace permits of six being drawn up before it.”

A little longer and we are in front of a long, stone platform—at least it looks like that; a minute more we drop our wraps in the carriage, and alight on the doorsteps of Buckingham Palace. My chaperone, having much experience, goes ahead of me very quickly, and I delightedly trot behind. Up the broad staircase we go, and she whispers to me, “Get ready your presentation cards. One must be left with these men at the gallery.” I have been systematic, enough to hold my card in the same hand with my bouquet, and I drop it exactly as she does hers. Walking very quickly we come to the first room and select good seats among the rows of crimson and gold chairs arranged in a semicircle.

The first thing that I notice is that there are very few men there. It appears that it is not the regulation thing, unless it is a bridegroom accompanying a bride, or a young soldier eager to exhibit himself in his gay uniform. A “Drawing Room” is essentially a woman’s function. In the room beyond us I can see a smaller crowd beginning to collect, but a silken cord is drawn across the doorway between us. In a stage whisper I ask, ” Who are they?” And my chaperone answers, “The people who have the entree, that is, the wives of officials, ambassadors and some very great people.” Again I ask what the “entree” is, and I am told that the people whom I see in there very much at their ease, chatting, have the privilege of entering by a private door and of being presented to Her Majesty, or the princess holding the Drawing Room, before we are.

After awhile we arc close to the silken cord; the people who were in the little room have made their reverences and gone. And soon we are part of a long procession that seems to end in a doorway far off to the right. Just now I am in front of a narrow passage leading to another doorway.

I notice that as each woman goes through here she turns her head; surely the Queen can’t be there. I will know when my turn comes, I think, and I do. On the other side of that doorway the wall is lined with mirrors, and one wouldn’t be a woman if she didn’t take a last glance at herself before entering the room where the Queen of England stands.

Before I reach her I see her. I see that good, kind, sweet face that all America knows and honors, and it makes everybody else around her seem of little moment. I am a republican born and bred, but standing in the presence of Queen Victoria, brought face to face with her, I forget that, and I think that kingdoms may fall and rise, that republics may tumble to pieces, but that the great glory of a womanly woman will rule the world forever and forever. The pages let down my train, the Lord Chamberlain has taken my card, I dimly hear a voice say, ” Miss Columbia for Presentation,” then a small hand, once the most beautiful in the world, is raised and saluted; but I can’t help it, my eyes will raise and I meet those of Victoria, Queen of England and Empress of India, and I am sure they tell her the reverence and honor I feel for her. Then I make the proper courtesies toward the line of princesses and princes at Her Majesty’s left hand.

My train is quickly picked up and thrown over my arm, and the ordeal is over. Somebody tells me that I have done marvelously, and somebody who wishes to give me information, whispers that the Queen’s pages attend to the trains, and that they are the sons of noblemen, who are given a holiday from school specially to attend the Drawing Room. Then I remember that I saw the beautiful Princess and how superb the Lord Chamberlain looked in his cloth of gold. Soon we are in the room where we wait for our carriage; friends are met and greeted; I gaze at the magnificent jewels and dresses, but never for a minute do I forget the kindly face of the great Queen, who has known sorrow and joy, and who, through it all, has been a royal woman.

Mayfair and Belgravia, Kensington and South Kensington, are all giving  “Drawing Room” teas, and we go from one to the other to see the other women, and to give them a chance to look at us. Somebody tells me that my name will appear and my dress be described in to-morrow’s “Presentation” list, and I intend to get as many copies as I can, mark them with blue pencil, and send them home. Because, republican though I am, a direct descendant from the Declaration of Independence, I shall always be more than proud to remember that sunny May day when the world looked bright and beautiful, and when I, with all love and respect, was presented to the Queen of England and kissed her hand within the walls of Buckingham Palace—she an English queen with her life all but done, I, an American girl, with all my life before me.

Ladies’ Home Journal, Vol. 9 1891

Mrs Daffodil’s Aide-memoire: It was rather unkind of the young lady to point out Her Majesty’s age and, in fact, Queen Victoria lived for a decade more, but the young are often heedless.

Unmarried ladies, like the lilies of the field, were required to dress in white for presentation at Court, while matrons might wear whatever was in fashion or suited them—which were not always identical.

One wonders if “Miss Columbia,” who styles herself a “direct descendant from the Declaration of Independence” (fancy being the scion of a document!) ended by overcoming her republican scruples long enough to marry a titled Englishman.

Mrs Daffodil has written previously about the expenses of being presented at court in The Cost of a Curtsey.

Mrs Daffodil invites you to join her on the curiously named “Face-book,” where you will find a feast of fashion hints, fads and fancies, and historical anecdotes

You may read about a sentimental succubus, a vengeful seamstress’s ghost, Victorian mourning gone horribly wrong, and, of course, Mrs Daffodil’s efficient tidying up after a distasteful decapitation in A Spot of Bother: Four Macabre Tales.

 

The Court Hair-dresser: 1892

HE BEAUTIFIES WOMEN

A London Court Hairdresser Chats About His Patrons.

A Woman’s “Greatest Glory” Is Her “Weakest Point”

The Most Popular and Becoming Coiffure

The Princess of Wales Style is Her Own.

Mr. Walter Trueffit’s hair establishment is in the fashionable quart of Bond Street, and by virtue of his situation and renown princesses, duchesses and lesser women of English nobility bow down to his taste and submit to his dictation.

He can thus afford to be frank and discuss with me the fearful and wonderful processes of a fashionable coiffure. “Some poet said,” he remarked, “that a woman’s greatest glory is her hair. It isn’t so. A woman’s most uncertain beauty and her most deceitful charm is her hair.

“Why, you would scarcely recognize some of these court ladies whom you see at functions if you saw them as I do with locks au naturel.

“A woman’s whole manner and appearance is at stake when she places herself in my hands. I can make her or I can mar her,” said this tyrant of the court.

But Mr. Trueffit is a clever artisan and he has had twenty years’ experience to back his statements, so I listened while he reviewed the subject from his trade standpoint.

“How long does it take you to dress a head of hair?”

“Oh! It takes the average hair surgeon an hour and a half, but I once operated on five cases between the hours of ten and one. It was a great rush, I tell you, to get the women ready for the drawing-room at Buckingham. That performance beat any other record in my line of business.”

I asked him why he didn’t write a book on his varied experiences, and he replied that he couldn’t afford to ruin his trade by destroying a charm in women that most men believe to be natural. “Better fool ‘em as long as you can,” he said, very sensibly, and I agreed with him. He was something of a historian, this hairdresser, for he told me that the Greek warriors were the first to discover that a woman’s hair was her first assailable feature, and he referred to a stone frieze form the temple of Apollo exhibited among the antiquities of Athenian sculpture in the British Museum and representing a battle scene between the Greeks and the Amazons in which Athenian heroes drag the Amazons to earth by twisting their long hair about their muscular arms.

It was this knowledge which produced the Grecian style of headgear, for then, as now, it was a species of coiffure built in curling parapets, spiked to the topmost curl with various descriptive weapons in the form of Greek ornaments that no man could seize with impunity. Fashion, which in many ways is leading society back into the pretty galleries of past styles, has taken a stride from the present century into the age of early Athens, and in London, as in Paris, the prevailing fashion of dressing the hair for ladies is Grecian, said my instructor.

“What is the style of hair dressing used by the court dames in England?” I asked.

“The Grecian coiffure, of course, is the most popular,” he replied, “although it is not becoming to all faces. The best reason I can assume for the prevalence of this style is that fact that it shows the shape of the head and poise of the neck better than any other fashion. With some ladies I have found it necessary to dress the hair higher or lower in angles according to the outline of the face and the curve of the neck. English women of the aristocracy generally have a liberal supply of their own hair and do not require the addition of false twists to any great extent. I have rarely been called up to use any false hair in the coils at the back, but more often find it necessary to attach a fringe of curls to the natural growth in front over the forehead. It is the custom among all titled women when going to a grand ball to employ a hairdresser. His skill and taste sometimes contrive a complicated style that has no artistic precedent of any kind. The princess of Wales, for instance, never wears her hair in the Grecian fashion because it is not becoming to her. Therefore she has a style of her own which very few faces can carry successfully.

“What is the rule for wearing the hair at court entertainments?”

“It is generally founded upon the prevailing fashion of the times, allowances being made for the hairdresser’s judgment upon certain complications which are suitable to the face and head of the wearer. For young ladies the Grecian style is most becoming. On court occasions a delicate tulle veil is fastened with a diamond star, sun tiara or coronet of diamonds, and other valuable ornaments, generally heirlooms in the family, to the crown of the coiffure, while in front three ostrich tips are set drooping a bit over the fringe of curls. These plumes are usually white, sometimes pale blue or pale pink, but if the court be in mourning of course they are black.”

“What is the cost of a court coiffure?” I asked.

“Oh! Some of the ladies carry enormous fortunes in ornaments on the head. I have known one coiffure to represent a cash value of £10,000, nearly $50,000. Great care has to be taken in fastening diamonds and gems in the hair securely, and this branch of the hairdresser’s art is perhaps the most important.

“With elderly ladies the style of court hair dressing varies according to the quantity and quality of the hair. Ladies of advanced age usually wear lace mantillas or lappets fastened to the hair and falling over the shoulders. We have one set charge for dressing a lady’s hair which is never varied.”

“How much is that?” “Half a guinea ($2.52). Every court hairdresser carries a case of tools like a surgeon, and he travels from one mansion to another in a carriage like a doctor.”

“Where do the styles for court coiffures originate?”

“That would be hard to say. Of course we are always watching the fashion journals and studying the fashion plates and we get a great many ideas from the Paris papers.”
Very few American ladies apply for hairdressers, I was told, but when they do it is always in preparation for a presentation at court.

There is a special superiority in the Grecian style of hairdressing, and that is it can be bought in separate pieces or complete, so that with the very slightest natural foundation one can create as graceful and artistic a coiffure as fancy may dictate. And the whole wig is made of human hair, too. I went out into the fog and wondered no more at the frailty of my sex when I thought of the many odd and fascinating scalps that had been presented a court this year.

The Repository [Canton, OH] 23 October 1892

A 1923 Court presentation ensemble. Victoria & Albert Museum Collection

A 1923 Court presentation ensemble. Victoria & Albert Museum Collection

Mrs Daffodil’s Aide-memoire: Queen Victoria was still on the throne at the time of this article, yet the same requirements obtained–sponsor, train, feathers, veil, and curtsy–until court presentations were discontinued by our present Queen in 1958. Incidentally, Mr Truefitt–the correct spelling of his name–later went into trade manufacturing gentlemen’s razors.

At the time of King Edward’s coronation, court hairdressers were much in demand.

PEERESSES COURT HAIRDRESSER

Early Coronation Hour Brings Services of Coiffeuses Into Big Demand.

London, Saturday, April. 5. The early hour fixed for the coronation ceremony has had the effect of sending many ladies to their hairdressers. The smart hairdressers will spend all the day before the ceremony in crimping and waving the hair of the ladies who will be in the Abbey and the night beforehand they will go from house to house dressing the locks they have previously attended to with irons. Every appointment has already been made. One lady who objected to half past six o’clock in the morning as too early for her was told that it must either be then or not at all, as the artist had every other moment filled. Seattle [WA] Daily Times 6 April 1902: p. 3

Sensible ladies sent their maids to school for specialized hair-dresser training so they did not have to compete for appointments. No lady of title looks her best when she has to rise before six in the morning to have her hair dressed.

Mrs Daffodil invites you to join her on the curiously named “Face-book,” where you will find a feast of fashion hints, fads and fancies, and historical anecdotes

You may read about a sentimental succubus, a vengeful seamstress’s ghost, Victorian mourning gone horribly wrong, and, of course, Mrs Daffodil’s efficient tidying up after a distasteful decapitation in A Spot of Bother: Four Macabre Tales.

 

The Cost of a Curtsey: Court Presentation Expenses: 1907

London, June 29. The court held this week by King Edward and Queen Alexandra lends interest to the inquiry as to what it costs for a debutante to make her curtsey to the king and queen.

A certain amount of exaggeration has attached itself to the expenditure which is cited as necessary for a court outfit. The all important dress may cost thousands and tens of thousands of collards, but on the other hand, a very dainty little debutante at the last court only spent $25 on her frock. It was made by a good dressmaker and the train was lent by a friend.

A calculation has been made to decide the maximum and minimum cost of a presentation at court. There is, of course, practically no limit to the expenditure, which might be involved. A gown may be sewn with real jewels. A petticoat may be fashioned of priceless lace; a feather fan may be adorned with sticks of gold. All that can be done is to take a fair average of the sum total which would be considered necessary by a society debutante.

The minimum cost is a more difficult matter. The most rigid economy must be practiced, and the greatest difficulty which will present itself will be to invest a comparatively small sum on the outfit and yet to compare favorably with the woman who has spent three times the amount.

The fact that it is now possible to hire a court train has proved a veritable boon to many debutantes. The price varies from $12 to $30, but a very dainty train of chiffon, lace and touches of silver embroidery can be procured for the evening at a charge of $15. Bouquets are not so fashionable now as white feather fans, but not everybody can afford one of these fragile luxuries, and in that case flowers must suffice. A firm of court florists will make up a bouquet of white poppies and marguerites for an extremely small sum.

A visit to the photographers might even be omitted but it would be a pity to economize in this respect. Every woman is anxious to hand down to posterity a picture of herself gowned for the great event.

As a last word of advice to the would-be debutante who is faced by the problem of a moderate dress allowance, it is interesting to note that the ladies, some of the most noble in the land, who go often to court, do not agitate themselves on the question of the outfit. They wear the same costumes, sometimes with a slight alteration, on many occasions and constantly borrow a train.

The Maximum Cost.

Court gown $525; petticoat $50; lingerie $50; corsets $25; silk stockings $10; satin shoes $15; veil and feathers $25; gloves $5; bouquet of orchids or white feather fan $50; cloak $165; real lace handkerchief $25; photographs $30; hairdresser (at the house) $5; manicure (at the house) $5; face masseuse (at the house) $5.

From this it will be seen that the grand total is about $1,000.

The Minimum Cost

Court gown $50; hire of court train 15.00; petticoat $5; lingerie $10; corsets $5; silk stockings $5; veil and feathers $5; gloves $5; bouquet $5; cloak $25; real lace handkerchief $5; photographs $10; hairdresser (at the shop) $2.50; manicurist (at the shop) $250; face masseuse (at the shop) $2.50.

From this it will be seen that the minimum is approximately $150.

The largest amount ever expended on a presentation outfit was paid by an American bride. The gown was made of white silk chiffon embroidered with real seed pearls and moonstones to represent lilies of-the-valley and white forget-me-nots. The court train was composed of real lace mounted over cloth of silver. The lace for the lingerie was specially made at Honiton for the occasion. The petticoat was composed of rich brocade and hand-painted chiffon.

The “Record” Outfit.

Court gown $7,500; petticoat $130; lingerie $150; corsets $50; silk stockings $35; shoes; $75; veil and feathers $35; gloves $15; bouquet (rare exotics) $75; cloak $250; real lace handkerchief $50. [$8,365 in total.]

From this it will be seen that the lingerie of the “record” outfit cost approximately as much as the “lowest possible” outfit.

The queen wore a mauve gown embroidered with gold in India; corsage and train to correspond; tiara of diamonds; ornaments, rubies, diamonds and emeralds; orders, the Garter, Victoria and Albert, Crown of India, and the Danish family order. It was a night of pretty debutantes, among whom may be mentioned Lady Helen Grosvenor, who was presented by her mother, Katherine, Duchess of Westminster, the latter dressed in black with a lovely diamond tiara and a necklace of pearls. Then there was Lady Cynthia Needham, presented by her mother, Lady Kilmorey, who wore a wonderful Paris gown with a tiara in the form of a waving ribbon in diamonds. Miss Drexel, as was anticipated, was one of the sensational debutantes of the evening, and looked perfectly lovely, her mother, Mrs. Anthony Drexel, blazing with jewels, presenting her. Miss Millicent Grosvenor, a daughter of Lord Henry and the late Lady Henry Grosvenor, was also presented by Katherine, Duchess of Westminster.

The Salt Lake [UT] Herald 30 June 1907: p. 10

Mrs Daffodil’s Aide-memoire: Mrs Daffodil has been ransacking her Debrett’s to discover the identity of the “American bride” whose presentation attire was so costly. She thought first of Miss Mary Leiter of Chicago, later so successfully Lady Curzon, whom we have met before in this forum. However, the new Lady Curzon’s gown is described thusly:

She wore a magnificent court train, suspended from the shoulder, of white cloth and silver moiré antique lined with the palest of green satin and embroidered with large bouffon. Her gown was of rich ivory and silver duchesse, the corsage being arranged with silver wings back and front. The under bodice was of soft tulle finished with exquisite point d’Alencon lace… Her head dress was of plumes and she also wore a white veil. She carried a Goodyear bouquet of white orchids. [Alexandria [DC] Gazette 22 May 1895: p. 2]

A “Goodyear bouquet” was not, as Americans might presume, rubber flowers, but an exclusive nosegay from Edward Goodyear of the Royal Arcade in Bond Street, holding a Royal Warrant  first from Queen Victoria, and thence to the reign of her present Majesty. Due to some unpleasantness during the last War, the firm is no longer located in that desirable location.

Consuelo Vanderbilt, the Duchess of Marlborough, wore her wedding gown “cut low,” at her court presentation, but descriptions of the garment are scant. It seems to have been ordered in Paris before the Duke of Marlborough proposed; Consuelo’s mother, Alva, was as optimistic as she was ruthless.

The newspapers who printed the description of the “record outfit,” are all equally discreet, mentioning only “an American bride.” If Mrs Daffodil may speak frankly, she is surprised that only one “American bride” could be cited for this lavish expenditure.  In her persual of Debrett’s Mrs Daffodil sees scores of possible candidates. Britain has always been a fertile field for opportunists. First it was the Romans, then the Vikings and their little smash-and-grab raids; and in 1907 it was the dashed Americans baying after a coronet.

Mrs Daffodil invites you to join her on the curiously named “Face-book,” where you will find a feast of fashion hints, fads and fancies, and historical anecdotes

You may read about a sentimental succubus, a vengeful seamstress’s ghost, Victorian mourning gone horribly wrong, and, of course, Mrs Daffodil’s efficient tidying up after a distasteful decapitation in A Spot of Bother: Four Macabre Tales.