17 April 2021 | Princess Anne, Princess Royal, Prince Charles, Prince of Wales, Prince Andrew, Duke of York, Prince Edward, Earl of Wessex, Prince William, Duke of Cambridge, Peter Phillips, Prince Harry, Duke of Sussex, David Armstrong-Jones, Earl of Snowdon and Vice-Admiral Sir Timothy Laurence follow Prince Philip, Duke of Edinburgh's coffin during the Ceremonial Procession during the funeral of Prince Philip, Duke of Edinburgh at Windsor Castle in Windsor, England. Prince Philip of Greece and Denmark was born 10 June 1921, in Greece. He served in the British Royal Navy and fought in WWII. He married the then Princess Elizabeth on 20 November 1947 and was created Duke of Edinburgh, Earl of Merioneth, and Baron Greenwich by King VI. He served as Prince Consort to Queen Elizabeth II until his death on April 9 2021, months short of his 100th birthday. His funeral takes place today at Windsor Castle with only 30 guests invited due to Coronavirus pandemic restrictions. (c) Adrian Dennis/Getty Images
British Royal Weddings - Part 1
Princess Elizabeth and Philip Mountbatten, 20 November 1947.
For her wedding dress, Elizabeth still required ration coupons to buy the material for her gown, designed by Norman Hartnell. The dress was "a duchesse satin bridal gown with motifs of star lilies and orange blossoms." Hartnell, who had been Court Designer since 1938, claimed it as "the most beautiful dress I had so far made". Elizabeth's wedding shoes were made out of satin and were trimmed with silver and seed pearl. Elizabeth did her own makeup for the wedding. Her wedding bouquet was prepared by the florist M. H. Longman, and consisted of "white orchids with a sprig of myrtle". The myrtle was taken from "the bush grown from the original myrtle in Queen Victoria's wedding bouquet". The bouquet was returned to the abbey the day after the service to be laid on the tomb of the Unknown Warrior, following a tradition started by Elizabeth's mother at her wedding in 1923.
Princess Margaret and Antony Armstrong-Jones, 6 May 1960.
The wedding dress was designed by Norman Hartnell, the favoured couturier of the royals, and was made from silk organza. The skirt comprised some 30 metres of fabric. Hartnell specifically kept the adornments of the dress such as the crystal embellishments and beading to a minimum in order to suit Margaret's petite frame. Margaret’s look was completed with the the Poltimore tiara. Vogue described the dress as "stunningly tailored". Another author called it "a study in simplicity". In 1960, Life magazine named it "the simplest royal wedding gown in history". It has also been described as one of Hartnell's most beautiful and sophisticated pieces.
Princess Anne and Mark Phillips, 14 November 1973.
The wedding dress was designed by Maureen Baker, the chief designer for the ready-to-wear label Susan Small; she had previously designed outfits for the princess. The dress was an embroidered "Tudor-style" wedding dress with a high collar and "mediaeval sleeves". The train was embroidered by Lock's Embroiderers. Anne was said to have designed many aspects of the dress herself. Compared to previous royal wedding dresses, it was described as "simplistic" and was noted as being close to contemporary 1970s wedding fashions.
Lady Diana Spencer and Charles, Prince of Wales, 29 July 1981.
The dress was designed by David and Elizabeth Emanuel, who described it as a dress that "had to be something that was going to go down in history, but also something that Diana loved", and which would be "suitably dramatic in order to make an impression". Diana personally selected the designers to make her wedding dress because she was fond of a chiffon blouse they designed for her formal photo session with Lord Snowdon.
The woven silk taffeta was made by Stephen Walters of Suffolk. The Emanuel's consulted Maureen Baker, who had made the wedding dress of Princess Anne, during their construction of the gown. One observer wrote "the dress was a crinoline, a symbol of sexuality and grandiosity, a meringue embroidered with pearls and sequins, its bodice frilled with lace". The gown was decorated with hand embroidery, sequins, and 10,000 pearls, centering on a heart motif. An 18-karat gold horseshoe was stitched into the petticoats as a sign of good fortune. The lace used to trim it was antique hand-made Carrickmacross lace which had belonged to Queen Mary.
Fittings of the dress posed difficulties because Diana had developed bulimia and dropped from a size 14 to a size 10 in the months leading up to the wedding. Even the seamstress was concerned about her weight loss and feared the dress might not fit as it should.
The twenty-five-foot train posed problems. According to writer Andrew Morton, in Diana: Her True Story, the gown's designers realized too late that they had forgotten to allow for the train's length in relation to the size of the glass coach Diana and her father rode in to the ceremony. They found it difficult to fit inside the glass coach, and the train was badly crushed despite Diana's efforts. This accounted for the visible wrinkles in the wedding gown when she arrived at the cathedral. Diana also had a spare wedding dress, which would have acted as a stand-in if the dress' design was revealed before her big day.
Prince Andrew, Duke of York and Sarah Ferguson, 23 July 1986.
Sarah Ferguson wore a dress made from ivory duchesse satin and featuring heavy beading, designed by Lindka Cierach, the beadwork incorporated various symbols including hearts representing romance, anchors and waves representing Prince Andrew's sailing background and bumblebees and thistles, which were taken from Sarah Ferguson's family heraldry. Copies of the dress, including the motifs specific to the royal family, went on sale in stores just hours after the end of the wedding. Influenced by the wedding dress of Lady Diana Spencer, a notable feature of Sarah Ferguson's 17 foot long train was the intertwined initials A and S sewn in silver beads. The head-dress and bouquet, fabric rosettes or artificial silk flowers were used to adorn the gown itself. Ferguson was pleased with the dress, describing it in her 1997 memoir, My Story, as "an exquisite creation I'd lost twenty-six pounds to fit into. Lindka was a genius; I knew she could make the most flattering gown ever, and she had. It was amazingly boned, like a corset." Hair stylist Denise McAdam and make-up artist Teresa Fairminer attended to the bride, while florist Jane Packer designed the bouquet. The ivory silk wedding dress became the season's most sought-after style.
You are right and you should say it. I figured this out a while ago, but the reason (mainly) why some marginalized groups (a progressive society) celebrate ppl like Harry and Taylor "supporting" them is because as het white cis attractive people, these celebrities represent "acceptable" society "supporting" marginalized peoples, if that makes sense. People who are "acceptable" by society, get all of the benefits, traditionally (cis white het people). It's human to want social approval, marginalized people want it too. When a gay fan knows that Taylor supports him (cis pretty white woman) it's like "society in general" that was so rejecting, supports him. That's powerful. Another queer person (im sorry to be blunt) is just another marginalized person with the same struggle in accessing social approval i.e. resources and belonging. People can more easily celebrate "normal celebrities" accepting "difference" than pure difference. It's why Harry in a dress was "acceptable" for most people while Billy Porter dawning full ball gowns regularly is "too much and too weird". Harry in makeup needs defending, but lil nas x needs questioning.
you're exactly right and we also need to acknowledge the connection between race and the treatment of queer celebrities. white queer celebrities usually just have their sexuality erased (lady gaga, billie joe armstrong, andrew scott, halsey). poc and especially black celebrities who are queer either have their sexuality completely ignored in favor of viewing them as Just Black (frank ocean, meg thee stallion) or, if they're too queer to erase, they're demonized and treated like freaks for being gnc (lil nas x, billie porter). the way people treat gay celebrities just boils down to how socially acceptable of a fag they are and being white, cis, and gender conforming all tie into that.
At first I think that the choice was made in reprinting to fudge Mickey Mouse on this shirt -- evade copyright claims, and that this will produce something resembling one of the doppelganger parodies. But then I take a closer look and realize that in the first image, actually -- by hook or by crook -- Jughead is wearing not a Mickey Mouse shirt, but a Mickey Rat shirt -- the gnoshed at ears and the pointed snout coming around to something of Robert Armstrong's creation. That said, I do not know what the pointed ear follow up represents -- maybe an attempt not to get sued by Armstrong?