All language subtitles for Tales.From.The.Royal.Wardrobe.2014.720p.WEBRip.x264.AAC-[YTS.MX]

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WOMAN: TODAY FEW PEOPLE'S
WARDROBES ATTRACT

AS MUCH ATTENTION
AS THE BRITISH ROYAL FAMILY'S.

HARDLY A DAY GOES BY
WITHOUT SOME PRESS COMMENT

ON A LITTLE ROYAL ROMPER SUIT
OR A DESIGNER DRESS

OR A SNEAKY
HIGH STREET PURCHASE,

AND YOU MIGHT THINK THAT
THE WORLD TODAY HAS GONE MAD

FOR A PEEK INSIDE
THE ROYAL WARDROBE,

BUT, BELIEVE ME,
IT'S ALWAYS BEEN LIKE THIS.

IN THIS PROGRAM,
I'M GOING TO OPEN WIDE THE DOORS

OF THE ROYAL WARDROBE
TO UNCOVER ITS SECRETS,

EXPLORING THE CLOTHES OF KINGS
AND QUEENS PAST AND PRESENT,

FROM ELIZABETH I OVER 400 YEARS

TO OUR CURRENT BRITISH MONARCH--
QUEEN ELIZABETH II.

I BELIEVE THAT THE FASCINATION
OF ROYAL CLOTHING

GOES BEYOND ITS CUT
OR ITS COLOR.

THESE THINGS ARE MORE
THAN CLOTHES.

THEY'RE SYMBOLS OR STATEMENTS,

AND I THINK THAT
THROUGHOUT HISTORY,

THE ROYAL WARDROBE HAS BEEN
IMPORTANT IN SHAPING THE IMAGE

OF THE MONARCHY FOR BETTER
AND SOMETIMES FOR WORSE.

WORSLEY: I'M GOING TO START
RIFLING THROUGH

THE ROYAL WARDROBES OF HISTORY
WITH ELIZABETH I.

SHE'S A QUEEN WHO I PARTICULARLY
ADMIRE FOR HER SKILL IN USING

CLOTHING TO CONSTRUCT AN IMAGE
OF POWER AND MAJESTY.

AS A CHILD, ELIZABETH
SPENT MUCH TIME

AT HATFIELD HOUSE
IN HERTFORDSHIRE,

AND IT WAS HER FAVORITE
RESIDENCE THROUGHOUT HER LIFE.

IT WAS HERE, BENEATH THIS OAK
IN HATFIELD'S GROUNDS,

THAT SHE DISCOVERED THAT SHE
WAS NOW QUEEN AT THE AGE OF 25.

RIGHT FROM THE START
OF HER REIGN,

ELIZABETH HAD TO CONTROL
HER IMAGE VERY CAREFULLY.

SHE KNEW THAT THE ODDS
WERE STACKED

AGAINST HER BEING
A SUCCESSFUL MONARCH.

FIRSTLY, SHE WAS FEMALE--
BEING A KING WAS A MAN'S JOB--

AND SECONDLY, BECAUSE HER MOTHER
HAD BEEN ANNE BOLEYN,

MANY PEOPLE BELIEVED
THAT SHE WAS ILLEGITIMATE.

THIRDLY, SHE HAD
VERY BIG SHOES TO FILL,

THOSE OF HER FATHER HENRY VIII,
WHO HAD EVERY NATURAL

AND ARTIFICIAL ADVANTAGE.

HE WAS A FINE FIGURE OF A MAN,

ALTHOUGH WHEN IT TURNED
TO FAT LATER ON,

HE WAS 54 INCHES
AROUND THE WAIST,

BUT HERE, HE'S HAD HOLBEIN
MAKE THE MOST

OF HIS VERY SPLENDID COSTUME,

AND THE EYE CANNOT HELP
BUT BE DRAWN

TO THIS PARTICULAR GARMENT HERE,
THE CODPIECE,

WHICH, FOLLOWING TUDOR FASHION,
HAS BECOME OUTSIZED.

MEN USED THEM AS LITTLE PURSES
TO CARRY MONEY IN

OR SOMETIMES PRECIOUS THINGS,
LIKE JEWELS,

HENCE THE EXPRESSION
A MAN'S "CROWN JEWELS,"

BUT WHAT HOLBEIN
IS REALLY SAYING HERE

IS THAT HENRY IS FERTILE.

HE'S FULL OF LOVELY SPERM.

HE IS THE IDEAL
MEDIEVAL MACHO MONARCH.

ELIZABETH OBVIOUSLY
DIDN'T HAVE HER FATHER'S

IMPOSING PHYSICAL ATTRIBUTES,

BUT SHE HELPED TO MAKE UP
FOR THAT USING CLOTHES,

AND TO SPREAD THE MESSAGE
OF HOW QUEENLY THIS QUEEN WAS,

PORTRAITS OF HER WERE HUNG IN
EVERY GREAT HOUSE OF THE REALM,

INCLUDING HATFIELD.

THIS IS AN EXTRAORDINARY
DRESS THAT SHE'S WEARING,

AND WHAT'S THIS
WHITE, GAUZY STUFF

THAT'S SORT OF SWIRLING
AROUND HER LIKE A CLOUD?

WELL, THAT'S
VERY FINE FABRIC.

IT'S WIRED AT THE
EDGES SO IT GIVES

THE EFFECT UP THERE
OF WINGS.

SO IT'S GIVING HER,
AS SHE MOVES,

TREMENDOUS
SORT OF PRESENCE

AND CONSEQUENCE.

IT LOOKS LIKE A SORT
OF PERSONAL CLOUD

OF DRY ICE SWIRLING AROUND
HER WHEREVER SHE GOES.

IT LOOKS FANTASTIC
IN THE PORTRAIT.

WHAT IT WAS LIKE IN
REALITY WALKING AROUND

WITH GREAT,
WIRED WINGS, YOU KNOW,

PARTICULARLY IF THERE
WAS ANY KIND OF WIND--

I GUESS YOU'D BLOW AWAY
IF THE WIND GOT BEHIND YOU.

WELL, I WOULDN'T
TRY IT OUT A BIT.

WORSLEY, VOICE-OVER: WHILE
ELIZABETH'S INCREDIBLE DRESS

MAY HAVE BEEN IMPRACTICAL,
IT CERTAINLY GAVE HER PRESENCE,

BUT IT WASN'T JUST THE COLOR
AND SHAPE THAT HAD SIGNIFICANCE.

THE DRESS IS FULL OF SYMBOLISM

THAT AN ELIZABETHAN VIEWER
COULD READ LIKE A BOOK.

TO THEM, THE PEARLS SIGNIFIED
PEACE AND PURITY.

SHE WAS SUPPOSED TO BE
THE VIRGIN QUEEN.

THE BEJEWELED SNAKE
SYMBOLIZED WISDOM.

THE HEART SYMBOLIZED LOVE.

THIS QUEEN RULED
WITH BOTH HEART AND HEAD

AND SHE HAD EYES EVERYWHERE.

WHAT'S GOING ON, FOR EXAMPLE,
WITH THESE LITTLE EYES?

WELL, THE EYES
AND THE EARS--

THEY REALLY ARE VERY
FREAKISH, AREN'T THEY?

THEY ARE
EXTRAORDINARY.

AND DO YOU THINK THIS
IS THE QUEEN SAYING,

"I CAN HEAR EVERYTHING,

AND I CAN SEE
EVERYTHING THAT YOU DO"?

IT IS.

RULE OF THE STATE,
AS IT WERE,

IS SYMBOLIZED
BY EYES AND EARS.

AND WHAT'S GOING ON
WITH THE RAINBOW?

WE KNOW THIS AS
THE "RAINBOW PICTURE"

BECAUSE SHE'S
HOLDING THIS THING

THAT LOOKS LIKE
A GRAY HOSEPIPE.

THIS AT ONE STAGE MUST
HAVE BEEN ALL THE COLORS

OF THE RAINBOW,
BUT NOW THEY'VE FADED.

SO WE HAVE THIS
LITTLE INSCRIPTION HERE.

THAT'S A CLUE.

THE INSCRIPTION
IN LATIN SAYS,

"WITHOUT THE SUN, YOU
DON'T GET THE RAINBOW."

SO SHE IS THE SUN,
BASICALLY.

SHE IS THE SUN,
A VERY COMMON METAPHOR

FOR A RULER, AND THE
RAINBOW IS A SYMBOL

OF PEACE, AND THIS
IS REALLY WHAT

EVERYBODY WANTS--
PEACE AND TRANQUILITY.

THE PICTURE IS SAYING,
"I'VE GOT A HEART.

"I'M WISE.
I'M WEARING A SNAKE.

"I CAN HEAR YOU AND SEE YOU
WITH THE EYES AND EARS,

"AND ALSO,
I'M HOLDING A RAINBOW.

I CAN CONTROL
THE WEATHER."

THAT'S A PRETTY GOOD
RANGE OF SKILLS

AND ATTRIBUTES,
ISN'T IT?

WELL, EFFECTIVELY,
IT IS.

WORSLEY, VOICE-OVER: ELIZABETH'S
DRESSES WERE AN IMPORTANT PART

OF THE TUDOR PROPAGANDA MACHINE,
WHERE THE PEOPLE SAW THEM

IN PICTURES OR ON HER PROGRESSES
AROUND THE COUNTRY,

AND WE KNOW THEY
WERE IMPORTANT TO HER

FROM THE NUMBER SHE POSSESSED.

THIS LITTLE STREET HERE
IS CALLED WARDROBE PLACE

BECAUSE 400 YEARS AGO,
A VAST BUILDING STOOD HERE

TO HOUSE THE ROYAL WARDROBE.

IT HAD ITS OWN SPECIAL STAFF,
THE WARDERS OF THE ROBES,

AND THIS MAP
OF ELIZABETHAN LONDON

SHOWS THAT IT TOOK UP
A WHOLE CITY BLOCK.

IT WAS LIKE A VAST WAREHOUSE
FULL OF DRESSES.

AN INVENTORY TAKEN IN 1599
REVEALED THAT ELIZABETH I

HAD 1,326 OF THEM.

ELIZABETH'S VAST
CLOTHING COLLECTION

REQUIRED A HUGE RETINUE OF STAFF
TO LOOK AFTER IT.

ONE MAN WAS EMPLOYED
JUST TO LOOK AFTER HER MUFFS.

SO CONSIDERING THE SHEER NUMBER
OF HER DRESSES,

IT'S QUITE REMARKABLE
THAT NONE SURVIVE TODAY.

AT WESTMINSTER ABBEY, THOUGH,
THE RESTING PLACE OF THE ROYALS

FOR THE LAST 1,000 YEARS,
YOU DO GET A TANTALIZING

AND INTIMATE GLIMPSE
OF ONE SINGLE ITEM.

THIS IS ONE OF THE VERY EARLIEST
SURVIVING BITS

OF ROYAL CLOTHING.

WE STILL GOT IT BECAUSE
OF THE WEIRD TRADITION

OF THE FUNERAL EFFIGY.

THIS WAS A MODEL OF THE DEAD
KING OR QUEEN THAT WAS MADE

TO BE CARRIED IN THEIR FUNERAL
PROCESSION TO WESTMINSTER ABBEY.

ELIZABETH I's HEAD IS MISSING,
BUT ORIGINALLY, IT WAS PAINTED

AND COLORED SO BEAUTIFULLY
THAT IT APPARENTLY LOOKED

LIKE SHE WAS STILL ALIVE,
AND HER FIGURE WAS DRESSED

IN HER CORONATION ROBES
AND UNDERNEATH THAT,

SPECIALLY CONSTRUCTED UNDERWEAR.

THIS CORSET-TYPE THING,
CALLED A SET OF STAYS,

DOESN'T LOOK LIKE MUCH,
BUT IT IS REMARKABLE.

ORIGINALLY, IT WAS
A VERY HIGH-STATUS ITEM.

IT'S MADE WITH MANY, MANY STRIPS
OF WHALE BONE FOR SUPPORT

THAT HAVE BEEN SEWED INTO IT
VERY CAREFULLY

WITH A HUGE AMOUNT OF LABOR,
AND IT'S EXTRAORDINARY TO THINK

THAT THIS REPRESENTS THE BODY
OF A WOMAN WHO WAS 70 YEARS OLD.

IT FORCES THE FLESH INTO A VERY
UNNATURAL, LONG, NARROW SHAPE,

WHICH WAS PARTLY
ELIZABETHAN FASHION,

BUT IT WAS ALSO THE QUEEN
WANTING TO CREATE

A VERY STRANGE AND OTHERWORLDLY
IMAGE FOR HERSELF.

ELIZABETH'S UNDERWEAR
WAS ORIGINALLY ONLY SEEN

BY HER LADIES-IN-WAITING,

AND IT'S ONLY WHEN THE EFFIGY
WAS CONSERVED

THAT THIS INTIMATE ITEM
WAS ACCIDENTALLY DISCOVERED.

THE STAYS ARE EXCITING BECAUSE
THEY FORMED THE FOUNDATION

FOR AN INCREDIBLE NUMBER
OF LAYERS ABOVE

THAT WOULD CONSTRUCT ELIZABETH'S
UNIQUE SILHOUETTE.

HOW LONG DO YOU THINK
IT WOULD TAKE, MARK,

FOR ELIZABETH I TO GET

TOTALLY QUEENED UP,
THEN, START TO FINISH?

OH, GOSH, WELL,
SHE'S NOT IN A RUSH,

SO I'D IMAGINE PROBABLY
ABOUT TWO HOURS.

OF COURSE, IT'S NOT
JUST THE CLOTHES.

IT'S THE JEWELRY,
THE MAKEUP, THE WIG.

THE ENTIRE ENSEMBLE
TO BE THE QUEEN,

ABOUT TWO HOURS.

AND HERE I AM IN MY
SATIN-COVERED BODY.

THAT'S ITS NAME,
ISN'T IT?

YEAH, A PAIR
OF BODIES, EVEN,

A PAIR OF BODIES.

AND COVERED
IN FINE FABRIC

BECAUSE, OF COURSE,
IT'S THE QUEEN'S.

IT'S AN AWFULLY LONG
AND SORT OF NARROW SHAPE.

THEY'RE NOT AT ALL
LIKE VICTORIAN STAYS

WHICH GIVE YOU
A LOVELY WAIST.

NO, OR INDEED
A LOVELY CLEAVAGE.

IT'S A DIFFERENT
LOOK. HA HA HA!

AND WHAT'S NEXT,
BUM ROLL?

EXACTLY.
YOU'RE THE QUEEN.

IT'S COVERED
IN SILK VELVET.

VELVET. IT'S LIKE A MASSIVE
TRAVEL PILLOW, ISN'T IT?

HA HA! INDEED.

A GIANT COULD SLEEP
LIKE THIS ON THE AIRPLANE.

NO NECK ACHE IN THAT,
BUT BRING IT DOWN,

AND UNLIKE A VICTORIAN
ONE, WHICH WOULD REST

RIGHT DOWN
WITH THE CORSET,

THIS JUST
IN THE MIDDLE,

AND WE'RE LOOKING
FOR A CONE SHAPE.

AND THAT'S EXACTLY WHAT
THESE GARMENTS ACHIEVE.

IT MAKES YOU MORE
AND MORE LIKE AN INSECT,

THE BIZARRE SHAPE OF
THE LATE ELIZABETHAN

AND JACOBEAN AGE.

THERE WE ARE.

AND WHAT'S THE POINT
OF THE BUM ROLL?

IT SEEMS TO BE THAT
THE MORE SPACE YOU HAVE,

THE RICHER YOU ARE.

SO YOU'RE MAKING
SO MUCH SPACE HERE,

NO ONE CAN
GET CLOSE TO YOU.

YOU'RE GONNA HAVE
TO WALK VERY SLOWLY,

ANYWAY, BECAUSE
NO GENTLEMAN

OR LADY WOULD HURRY.

SERVANTS DO THAT.

SO NOW I'VE GOT
MY SOFT HIPS,

I CAN BUMP INTO THINGS
IF IT'S LATE AT NIGHT.

WHAT COMES NEXT?
IS IT THE HOOPS?

IT IS,
THE FARTHINGALE.

NOW, THESE SHAPES
ARE MADE OF OSIER,

THE SAME THEY WOULD
USE FOR BARRELS,

THESE BIG CIRCLES
OF WOOD.

SO THIS IS WOOD
INSIDE HERE,

BIG, ROUND WOOD
IN CIRCLES.

THAT'S RIGHT.
OVER YOUR HEAD.

DOES IT DO UP
AT THE BACK...

AT THE FRONT.

OR AT THE FRONT?

IT'S GOT TO NESTLE JUST
ON TOP OF THE BUM PAD

AND GO ALL THE WAY DOWN
TO GIVE YOU THAT SHAPE,

TAKING UP
EVEN MORE SPACE.

OF COURSE, IT'S
QUITE IMPROPER THAT

A GENTLEMAN SHOULD
BE DRESSING YOU,

OR EVEN A MAN
LIKE MYSELF.

OF COURSE IT'S AN IMMENSELY
TITILLATING SIGHT

FOR YOU, ISN'T IT?

IT CERTAINLY IS.

I'M DOING MY BEST
TO CONTROL MYSELF.

HOW DO YOU FEEL?

I FEEL RATHER QUEENLY.
HA HA!

NOW, THE PETTICOAT,
LUCY,

AND THIS IS
BEAUTIFUL.

THIS IS
THE FOREPART,

AND IT'S WHITE AND
GOLD, AS YOU SEE.

THE BACK IS OF SILK.

IT'S NOT AS GOOD
AS THE FRONT,

BUT IT'S STILL PRETTY
GOOD, BUT NO ONE SEES IT

EXCEPT THE LADIES
WHO ARE DRESSING YOU.

ONLY I KNOW THAT
I HAVE A SILKEN BOTTOM?

INDEED. OK.
ALL RIGHT.

NOW, LUCY, TURN AROUND.
GIVE US A TWIRL.

DOES MY BUM
LOOK BIG IN THIS?

HA HA HA!

NOW LET'S IMPRISON THOSE
WANDERING HANDS OF YOURS

IN MILES AND MILES
OF VELVET.

HANG ON
TO YOUR CUFFS

BECAUSE THIS
IS JOLLY HEAVY.

OH, THERE WE ARE.
ARE YOU IN?

WHOA.
LET'S SEE.

NOW, HOW DOES
THAT FEEL?

VERY COZY.

LOOKS GOOD ON YOU
COLORWISE.

IMPOSSIBLE, MOST
OF THESE DRESSES,

FOR PEOPLE TO GET INTO
THEMSELVES.

AND NOW
FOR YOUR SO-CALLED

CARTWHEEL RUFF,
YOUR MAJESTY.

WHOOPS, FORGIVE
MY TREMBLING HANDS.

YOU KNOW, IT REALLY WORKS,
ALL OF THIS GEAR,

BECAUSE I DO ACTUALLY
FEEL EXTREMELY QUEENLIKE.

OH, AND YOU
LOOK IT, TOO.

QUEEN OF HEARTS.
AH, YEAH. EXCELLENT.

BEHEAD THAT MAN AND
GIVE THAT LADY A PEERAGE.

VERY GOOD, MADAM.

HA HA HA!
YOU LOOK LOVELY.

ELIZABETH I's DRESSES
LITERALLY DAZZLED THE EYES

OF HER 16th-CENTURY
COURIERS AND VISITORS.

THIS DRESS ALONE WAS COVERED
WITH 800 FRESHWATER PEARLS,

AND THAT'S NOT INCLUDING
THE JEWELRY SHE WORE ON TOP.

AS A RESULT, ELIZABETH'S
WARDROBE BECAME LEGENDARY,

EVEN IN HER OWN LIFETIME.

IN 1600 WHEN THE MORAVIAN BARON
WALDSTEIN VISITED ENGLAND,

HE SAID THAT HIS SOLE OBJECT
HAD BEEN TO WIN AN AUDIENCE

WITH THE QUEEN,
AND AFTERWARDS HE SAID

THAT SHE'D BEEN "GLITTERING
WITH THE GLORY OF MAJESTY"

AND SHE'D BEEN
ADORNED ALL OVER

WITH PRECIOUS JEWELS AND GEMS.

ELIZABETHAN FASHION
NOT ONLY BOLSTERED

THE INTERNATIONAL REPUTATION
OF THE QUEEN HERSELF,

BUT ALSO HER ENTIRE COURT.

SHE USED CLOTHES TO CONSTRUCT
HER OWN PERSONAL IMAGE

BUT EXPECTED THE REST
OF HER COURT TO FOLLOW HER LEAD.

A GENTLEMAN'S SUIT APPROPRIATE
FOR COURT WEAR WOULD COST

AS MUCH AS A YEAR'S RENT
ON HIS LONDON TOWNHOUSE.

TO MAINTAIN STANDARDS,
ELIZABETH EVEN PASSED LAWS

ON WHAT PEOPLE SHOULD AND,
IMPORTANTLY, SHOULD NOT WEAR.

ELIZABETH WANTED HER COURTIERS
TO LOOK GOOD,

BUT SHE DIDN'T WANT THEM GETTING
ABOVE THEIR STATION.

SO SHE PASSED NO LESS
THAN 10 STATUES OF APPAREL,

LAWS THAT SAID WHO COULD WEAR
WHAT AT WHAT RANK OF SOCIETY.

SO HERE IS A 16th-CENTURY
ACT OF PARLIAMENT

AGAINST THE INORDINATE USE
OF APPAREL.

IT SAYS HERE THAT IF YOU
WANT TO WEAR CLOTH OF GOLD,

YOU HAVE TO BE AN EARL
OR ABOVE THAT IN STATUS.

IF YOU WANT TO WEAR FUR
ON YOUR CLOTHES,

YOU HAVE TO BE WORTH
AT LEAST £100 A YEAR,

AND I ALSO LIKE
THE IMPRESSION IT GIVES

THAT THE QUEEN CAN SEE YOU,
EVEN IN YOUR BEDROOM.

WOE BETIDE YOU IF YOU ARE WORTH
LESS THAN £20 A YEAR

AND IF YOU WEAR
THE SUMPTUOUS FABRIC

OF SILK ON YOUR NIGHTCAP.

ELIZABETH'S WARDROBE
REALLY PROVES

HOW ROYAL DRESS HAS THE POWER
TO MAKE A MONARCH.

HER IMAGE CONTRIBUTED
TO THE LONGEVITY

OF HER 44-YEAR REIGN
AND THE RELATIVE PEACE

AND PROSPERITY THAT THE COUNTRY
ENJOYED THROUGHOUT,

BUT THE WARDROBES OF
HER SUCCESSORS, THE STUARTS,

SHOW US HOW CLOTHES
COULD CONTRIBUTE

TO THE BREAKING UP
OF A MONARCHY.

IN THE 16th CENTURY,
THE TUDOR MONARCHS

HAD KEPT THEIR ARTISTS
ON A TIGHT REIN.

THEY AND THEY ALONE
HAD DETERMINED

HOW THEY SHOULD BE PAINTED,

BUT THE RISE OF
THE PRINTING PRESS AND THE SALE

OF ILLUSTRATED PAMPHLETS
ON STREET CORNERS MEANT

THAT THE STUART IMAGE WOULD BE
TREATED LESS RESPECTFULLY,

AND COURT FASHION BECAME PART
OF THE POLITICAL BATTLEGROUND.

NOW, THESE PICTURES
FROM SATIRICAL PAMPHLETS

SHOW THE POWER OF DRESS
AND PARTICULARLY ACCUSATIONS

ABOUT THE LAVISHNESS OF DRESS
AND THE ROLE IT PLAYED

IN THE PROPAGANDA WAR
LEADING UP TO THE REAL

ACTUAL PHYSICAL CIVIL WAR.

THIS GENTLEMAN IN THIS PICTURE
IS A CAVALIER.

HE FIGHTS FOR THE KING,
AND THE ARTIST

IS BASICALLY SAYING THAT
WITH ALL OF HIS CLOTHES

AND ALL OF HIS STYLING,
THE GENTLEMAN IS A TWIT

BECAUSE LOOK
AT WHAT HE'S WEARING.

THE KEY TELLS US THAT
HE'S WEARING A SILLY HAT.

IT LOOKS LIKE A CLOSE STOOL PAN,
OR A TOILET PAN,

SET ON THE TOP OF HIS NOODLE.

IT SAYS HERE THAT HE'S WEARING

"A LONG-WAISTED DOUBLET
UNBUTTONED HALFWAY"--

NOW, THAT SHADES
OF SIMON COWELL--

AND THE BUTTON'S
A BIT TOO OPEN ON THE SHIRT.

HE'S GOT IN HIS HAND A STICK,
PLAYING WITH IT--

WE KNOW WHAT THAT MEANS--
AND HE'S ALSO WEARING

A GREAT, BIG PAIR OF SPURS.

SO YOU HEAR HIM COMING ALONG.

HE JINGLES LIKE A MORRIS DANCER
AS HE APPROACHES.

SO BASICALLY, HE IS
ABSOLUTELY RIDICULOUS.

NOW, THE LUXURIOUS CLOTHING
OF THE KING AND HIS CAVALIERS

DID NOT LEAD DIRECTLY
TO THE CIVIL WAR,

BUT NEGATIVE COMMENT
ABOUT THEIR WARDROBES

OPENED THE WAY FOR OTHER
MUCH MORE SERIOUS COMPLAINTS

THAT ENDED IN ARMED REBELLION.

SO IT MIGHT SOUND SURPRISING
THAT RIGHT AT THE END

OF CHARLES I's LIFE WHEN HE WAS
INCARCERATED AND AWAITING TRIAL,

HE WAS STILL THINKING
ABOUT HIS WARDROBE.

YOU MIGHT THINK THAT CHARLES I--
DEFEATED, IN PRISON--

WOULD HAVE OTHER THINGS ON
HIS MIND APART FROM HIS CLOTHES,

BUT WHEN HE HEARD
HE WAS TO BE BOUGHT TO LONDON

FOR HIS TRAIL, WHAT DOES HE DO?

HE ORDERS A NEW VELVET SUIT

COVERED ALL OVER
IN GOLD EMBROIDERY.

HE STILL WANTED TO MAKE A REGAL,
A KINGLY IMPRESSION.

THE KING'S TRAIL ENDED WITH
THE ORDER FOR HIS EXECUTION.

IT WAS TO TAKE PLACE
ON THE 30th OF JANUARY 1649.

THAT MORNING,
HE DRESSED WITH GREAT CARE.

HE PUT ON TWO SHIRTS BECAUSE
IT WAS VERY COLD THAT DAY

AND HE DIDN'T WANT ANYBODY

TO SEE HIM SHIVERING
ON THE SCAFFOLD.

HE WAS BOUGHT HERE
TO THE PALACE OF WHITEHALL,

AND HIS GUARDS MARCHED HIM
THROUGH THE GALLERIES,

THROUGH THIS VERY DOOR
INTO THE BANQUETING HOUSE,

THE LAST ROOM THAT CHARLES I
WOULD EVER SEE.

THE KING WAS FROG-MARCHED
THROUGH THIS SPACE

AND OUT THROUGH A HOLE
IN THE WALL THAT HAD BEEN MADE

LEADING ONTO A SCAFFOLD ERECTED
IN THE STREET OUTSIDE.

THERE HE SAID HIS LAST PRAYERS.
HE TOOK OFF HIS HAT.

HE MOVED HIS LONG HAIR OUT
OF THE WAY TO BARE HIS NECK,

AND HE GAVE HIS GLOVES
TO HIS FRIEND ARCHBISHOP JUXON.

THEN HE KNELT DOWN
AND PUT HIS HEAD ON THE BLOCK.

IT WAS VERY LOW.

HE WAS ALMOST LYING
ON HIS STOMACH,

AND THEN THE AX CAME DOWN.

FASHION AND CLOTHING WERE
CENTRAL TO CHARLES I's KINGSHIP

AND ITS POWER IS REVEALED
MOST FULLY

BY WHAT HAPPENED TO HIS WARDROBE
FOLLOWING HIS EXECUTION.

AFTER THE KING'S DEATH, THERE
WAS A GREAT DEAL OF INTEREST

IN WHAT WAS GOING TO HAPPEN
TO HIS CLOTHES.

PEOPLE STARTED TO COLLECT THEM,
AND SO WE HAVE THE CAP HE WORE

WHEN HE WAS CAPTURED
BY THE PARLIAMENTARIANS.

EVEN MORE EXCITINGLY,
WE'VE GOT FRAGMENTS

OF THE CLOAK HE WORE
ON THE MORNING OF HIS EXECUTION

AND THOSE GLOVES HE GAVE
TO ARCHBISHOP JUXON,

WELL, HERE THEY ARE,
BUT HANG ON A MINUTE.

THESE ARE ALSO SAID TO HAVE BEEN
THE GLOVES HE WORE

ON THE MORNING OF THE EXECUTION,
AND IF YOU GO TO LAMBETH PALACE,

WELL, THEY'VE GOT
A THIRD PAIR THERE.

NOW CLEARLY, HE WASN'T WEARING
3 PAIRS OF GLOVES,

AND CLEARLY NOT ALL
OF THESE THINGS CAN BE REAL,

BUT THAT'S NOT REALLY THE POINT.

TO THE SUPPORTERS
OF THE DEFEATED KING CHARLES,

THESE ITEMS OF ROYAL CLOTHING
HAD SUCH POWER,

THEY HAD SUCH SIGNIFICANCE,
THAT PEOPLE VENERATED THEM

LIKE THE RELICS OF A HOLY SAINT.

AFTER A BRIEF SPELL
WHEN IT SEEMED

THAT THE MONARCHY WAS DEAD
AND BURIED FOREVER,

CHARLES II EVENTUALLY RECLAIMED
HIS FATHER'S THRONE,

BUT HIS NEW SUBJECTS NOTICED
THAT HE WAS ANXIOUS

TO AVOID MAKING
THE SAME MISTAKES AS HIS FATHER.

IN HIS DIARY FOR 1666,
SAMUEL PEPYS TELLS US

ABOUT SOMETHING UNPRECEDENTED
THAT THE KING DID

IN ONE OF HIS COUNCIL MEETINGS.

CHARLES II HAD DECLARED
HIS RESOLUTION OF SETTING

A BRAND NEW FASHION FOR CLOTHES
FOR EVERYBODY AT COURT.

HE DID THIS TO TEACH
THE NOBILITY THRIFT,

WHICH SAMUEL PEPYS
AND, PRESUMABLY,

THE REST OF THE POPULATION
THOUGHT WAS A VERY GOOD THING.

CHARLES II WAS INTRODUCING
A NEW KIND OF OUTFIT, THE SUIT,

ALTHOUGH THE SUIT'S DECORATION

COULD BE QUITE THE OPPOSITE
OF THRIFTY.

SUSAN, THIS SUIT
IS COVERED

ALL OVER WITH
SILVER EMBROIDERY.

THAT'S A BIT OVER
THE TOP, ISN'T IT?

WELL, IT WAS WORN FOR
AN IMPORTANT OCCASION

BY THE BROTHER
OF CHARLES II JAMES

WHEN HE WAS DUKE OF YORK

WHEN HE MARRIED
IN 1673.

IMAGINE HIM COMING
INTO A CANDLELIT ROOM.

HE MUST HAVE
GLITTERED ALL OVER

LIKE A
CHRISTMAS TREE.

WELL, YES, AND PERHAPS
EVEN MORE SO

WHEN THE COAT AND
BREECHES WERE FIRST MADE

BECAUSE, OF COURSE,
THE METAL THREADS

WERE THAT MUCH BRIGHTER
AND SPARKLING.

MM. WHAT'S SO NEW ABOUT THIS
AS AN OUTFIT OF CLOTHES?

WHAT'S REMARKABLE FOR,
UM, ROYAL DRESS

IS THE FACT THAT IT'S
A COAT HE'S WEARING

WITH HIS BREECHES,
AND NOT A DOUBLET.

SO THE DOUBLET WOULD
HAVE BEEN THE TIGHT,

LITTLE JACKET AND THEN
BIG, BAGGY BREECHES.

YES. YES, AND THEN
THE DOUBLET BY THIS TIME

SORT OF ENDS BARELY
AT THE WAISTLINE.

SO PERHAPS, YOU KNOW,
IT WAS GOOD OPPORTUNITY

FOR CHARLES TO KIND OF
SET SOMETHING NEW.

MAYBE THE DOUBLET
WAS TOO REMINISCENT

OF THE OLD COURT
OF HIS FATHER.

HERE WAS A CHANCE
TO ESTABLISH A LOOK

THAT WOULD BE UNIQUELY
IDENTIFIED WITH HIM,

AN OUTFIT THAT EVERYBODY
WAS DESPERATE TO WEAR

AND THINKS IS REALLY
COOL AND STYLISH.

WHERE DID CHARLES II,
THEN, GET HIS FASHION SENSE?

CLEARLY, HE WAS A
FASHIONABLE SORT OF FELLOW.

WELL, UM, HE DID VERY
SIGNIFICANTLY SPEND TIME

AT THE COURT
OF LOUIS XIV.

YOU KNOW, LOUIS WAS
RECOGNIZED AS BEING

THE STYLE LEADER FOR
ABSOLUTELY EVERYTHING,

INCLUDING CLOTHING, AND
WAS QUITE DICTATORIAL

ABOUT WHAT PEOPLE
WERE ALLOWED TO WEAR

AND HOW THEY WERE
TO PRESENT THEMSELVES.

SURELY, EMULATING SOMEONE
WHO'S A BIT DICTATORIAL

ABOUT FASHION ISN'T A VERY
GOOD IDEAL FOR CHARLES II,

BECAUSE HE'S SEEN
HIS FATHER BE DICTATORIAL

AND GET HIS HEAD
CHOPPED OFF AS A RESULT.

WELL, CERTAINLY,
HE MUST HAVE TAKEN THAT

INTO ACCOUNT, BUT
ON THE OTHER HAND,

IT'S NOT SOMETHING
THAT'S DECREED.

HE DOESN'T ENFORCE THE
WEARING OF THIS GARMENT.

SO IS IT FAIR TO SAY
THAT LOUIS XIV IS GOING,

"COURTIERS,
WEAR WHAT I WANT."

HE'S USING THE FRENCH
STICK, IF YOU LIKE,

AND THEN WE'VE GOT
CHARLES II IN LONDON

MAKING EVERYBODY
WANT TO WEAR THE SUIT

BECAUSE IT LOOKS
SO GOOD.

HE'S USING THE CARROT.

YES, ABSOLUTELY.

WE'VE GOT
THE FRENCH STICK

OR THE ENGLISH
CARROT.

WHICH DO YOU PREFER?

OH, WELL,
I THINK WE'D ALL GO

FOR THE ENGLISH CARROT,
WOULDN'T WE?

HA HA HA!
GOOD ANSWER.

NOW, CHARLES II
MAY BE REMEMBERED

AS THE JOLLY, OLD,
MERRY MONARCH,

BUT I BELIEVE THAT HE WAS
A PARTICULARLY CANNY KING.

HE CLEVERLY DISTANCED HIMSELF
FROM HIS FATHER CHARLES I

AND ALSO FROM CONTEMPORARY
ABSOLUTIST MONARCHS

LIKE LOUIS XIV,
AND CHARLES II MARKED

A REAL TURNING POINT
FOR THE BRITISH MONARCHY.

HIS PREDECESSORS HAD ALL
BELIEVED THAT THEY HAD

A GOD-GIVEN RIGHT TO RULE,

BUT FROM CHARLES II ONWARDS,
EVERY BRITISH MONARCH

KNEW THAT HE OR SHE
WAS NO LONGER TOP DOG

AND THAT HE OR SHE HAD TO RULE
BY PAYING A NOD

TO THE POWER OF THEIR PEOPLE.

AFTER THE CIVIL WAR,
CHARLES HAD REALIZED

THAT MONARCHS COULD LONGER
POWER-DRESS LIKE ELIZABETH I

BECAUSE THEY SIMPLY DIDN'T WIELD
AS MUCH POWER,

BUT THEY WERE STILL LEFT
WITH THE POMP.

AS A TRILOGY OF GEORGES
NAVIGATED THEIR WAY

THROUGH THE 18th CENTURY,
GENTLEMEN SPORTED

THE NEW SENSIBLE SUITS,

WHILE LADIES
DID QUITE THE OPPOSITE.

NOW, ELERI, WHAT IS THIS
EXTRAORDINARY OBJECT?

THIS IS AN 18th-CENTURY

VERSION OF AN UNDERSKIRT

KNOWN AS A SIDE HOOP
OR PANNIERS,

AND IT WAS WORN
TO CREATE

A VERY EXTRAVAGANT
SKIRT SHAPE.

SO MY BODY,
MY WAIST,

GOES IN THAT HOLE
THERE, RIGHT?

YOU STAND IN THERE,
AND THEN THIS DRAWSTRING

GATHERS AROUND
YOUR WAIST.

AND YOU TIE THAT UP?

ABSOLUTELY.

IS THIS WHALE BONE
UNDER HERE?

YEAH.

IT'S QUITE
A FLEXIBLE THING.

EXACTLY AND WHAT
CREATES THE SHAPE.

ALTHOUGH IT DOESN'T
LOOK VERY MUCH,

IT'S ACTUALLY QUITE
A SPECIAL LUXURY GARMENT.

AND IT'S AMAZING THAT
UNDERWEAR LIKE THIS

SURVIVES FROM
THE 18th CENTURY.

IT'S VERY RARE.

AND WHAT KIND OF A DRESS
WOULD HAVE GONE ON TOP?

AN EXTRAORDINARY DRESS
CALLED THE COURT MANTUA.

TELL ME
ABOUT THIS, THEN.

IT'S RIDICULOUS,

THE SIZE AND THE SHAPE
OF THIS THING,

IT MUST BE THE LEAST
PRACTICAL DRESS EVER.

ABSOLUTELY, BUT THAT'S--
THAT'S SORT OF THE POINT,

UM, IS THAT THE PERSON
WHO WAS WEARING THIS

WAS OBVIOUSLY RICH ENOUGH
AND IMPORTANT ENOUGH

NOT TO WEAR
PRACTICAL CLOTHES.

YOU COULDN'T DO
A SHRED OF WORK IN THIS,

AND, IN FACT,
YOU COULD BARELY MOVE.

THEY WERE WEARING
THESE DRESSES

AT THE GEORGIAN COURT,
AND IT BECAME

SOMETHING OF A UNIFORM
DIDN'T THEY?

THEY DID.

IT WAS ACTUALLY PRESCRIBED,
AND THERE WERE

VERY STRICT RULES
OF ETIQUETTE ABOUT

WHAT SORTS OF DRESSES
UM, YOU SHOULD WEAR,

AND WOMEN HAD
TO WEAR THESE MANTUAS

PRETTY MUCH FOR MOST
OF THE 18th CENTURY.

I'VE READ THAT THE
COURTIERS COMPLAINED

ABOUT ALL THE RUFFLES
AND THE FRILLS

GETTING IN THE WAY
OF ANY SORT

OF ACTIVITY THEY
WANTED TO BE DOING.

WHAT ABOUT THIS
PARTICULAR SILK

THAT'S BEEN
WOVEN HERE?

WHAT'S THE
SIGNIFICANCE OF IT?

THIS PARTICULAR SILK
IS A VERY EXPENSIVE ONE

BECAUSE OF THE COMPLEXITY
OF THE WEAVE.

THERE AREN'T THAT MANY
REPEATING PATTERNS WITHIN IT,

WHICH, TO THE
TRAINED EYE AT COURT,

WOULD SIGNIFY A VERY
RARIFIED SENSIBILITY

AND ALSO A LOT
OF MONEY.

THIS ONE'S
PRETTY WIDE.

IS THIS AS EXTREME
AS MANTUAS GET?

YOU DID GET SKIRTS
THAT CAME OUT

AT COMPLETE RIGHT ANGLES
TO THE WAIST

AND THEN DOWN.

A BIG,
WALKING OBLONG.

ABSOLUTELY.

DO YOU THINK, THEN--

I GET THE SENSE
THAT BY THE LATE

GEORGIAN PERIOD, GOING
TO COURT MUST HAVE BEEN

A BIT LIKE GOING
TO THE ZOO.

IT WAS LIKE THE
DINOSAURS ARE STILL

WALKING THE EARTH
WEARING THESE CRAZY,

OUTMODED DRESSES.

BUT THAT WAS PART OF
MAINTAINING AT COURT

THIS SPLENDOR OF
THE 18th CENTURY BECAUSE

EVERYTHING ABOUT THE COURT
AND SOCIETY HAD CHANGED

SO MUCH DURING THAT
CENTURY THAT IT WAS

A WAY OF PRESERVING
IN ASPIC

THE CEREMONY
ASSOCIATED WITH COURT.

THIS HAS TO BE THE WORLD'S
LEAST PRACTICAL DRESS.

WHEN YOU CAME TO COURT,
YOU HAD TO FOLLOW

A EXTREMELY STRICT CODE
OF BEHAVIOR.

YOU'D BE COACHED BEFOREHAND
BY YOUR DANCING MASTER.

SO ONE COURT LADY TELLS US
THAT IF A HAIRPIN

WAS PRICKING YOUR SCALP,
YOU COULDN'T PULL IT OUT.

YOU HAD TO PUT UP WITH THE PAIN.

IF IT GOT REALLY BAD,

THEN YOU COULD BITE
THE INSIDE OF YOUR CHEEK

AND SWALLOW THE BLOOD
AS A DIVERSION.

SO WHAT WERE THE RULES
OF WEARING A DRESS LIKE THIS?

WELL, FIRSTLY, THERE WERE
NO CHAIRS IN THE ROOM.

IT'S CONTRARY TO ETIQUETTE TO
SIT DOWN IN THE ROYAL PRESENCE.

SO YOU HAD TO STAND FOR HOURS
IN YOUR HEAVY HOOPS

AND ALSO
IN YOUR HIGH-HEELED SHOES.

MUSTN'T CROSS YOUR ARMS.

THAT'S A COMPLETE NO-NO,
AS IS TURNING YOUR BACK

ON THE KING OR QUEEN.

IF YOU WANTED TO LEAVE THE ROOM,
YOU HAD TO ASK PERMISSION,

AND IF IT WAS GIVEN,
YOU HAD TO CURTSY 3 TIMES

AND THEN BACK OUT OF THE ROOM
AVOIDING COLLISIONS

WITH OTHER LADIES IN THEIR HOOPS

AND GETTING YOURSELF
STRAIGHT OUT OF THE DOOR.

EVERYBODY WANTS TO KNOW
HOW THE COURT LADIES

WENT TO THE LOO,
AND THE ANSWER IS,

THEY'RE NOT YET
WEARING KNICKERS,

WHICH HAVEN'T BEEN INVENTED.

SO THEY ARE ABLE TO USE
THE CHAMBER POT,

BUT TO DO THIS, YOU'RE SUPPOSED
TO ASK FOR PERMISSION

AND WITHDRAW TO THE ANTEROOM,

AND PERMISSION
IS NOT NECESSARILY FORTHCOMING.

ONCE, ONE OF QUEEN CAROLINE'S
LADIES WAS REFUSED PERMISSION

TO WITHDRAW, AND A FEW MINUTES
LATER, A HUMILIATING PUDDLE

APPEARED FROM
UNDERNEATH HER MANTUA,

AND--THIS IS
THE CONTEMPORARY QUOTATION--

IT "THREATENED THE SHOES
OF BYSTANDERS."

BY THE END OF THE 18th CENTURY,

COURTLY DRESS HAD BECOME
A SOURCE OF DERISION.

THE ROYAL WARDROBE WAS BECOMING
LESS AND LESS RELEVANT

TO THE OUTSIDE WORLD, AND SO,
TOO, WAS THE MONARCHY ITSELF.

THE POPULATION MIGHT
HAVE LAUGHED A LOT MORE

IF THE ROYAL JOKE HADN'T BEEN

QUITE LITERALLY
AT THEIR EXPENSE.

THIS IS THE PRINCE REGENT,

THE FUTURE GEORGE IV,

STANDING IN FOR HIS DAD
WHILE HE WAS MAD.

YOU MAY REMEMBER HIM

AS THE HUGH LAURIE CHARACTER
IN "BLACKADDER,"

IN OTHER WORDS, A BIT OF A TWIT.

WHEN HE FINALLY BECAME KING
IN 1820,

HE PUT ON THE MOST
WONDERFUL CORONATION.

IT WAS AN ENORMOUS SPECTACLE
THAT EVERYBODY ENJOYED

UNTIL THEY DISCOVERED
HOW MUCH IT HAD COST.

HE SPENT £25,000 ON HIS ROBES

THAT HE ONLY WORE
FOR A FEW HOURS.

GEORGE IV
WAS A VERY STYLISH MAN.

AS HIS WIFE SAID, IT WAS JUST
A SHAME THAT HE HAD TO BE KING.

HE WOULD HAVE MADE
A MUCH BETTER HAIRDRESSER.

NOW, IF I HAD TO
IMAGINE THE SLIPPERS

OF THAT BLING LOVER
GEORGE IV,

THIS IS WHAT I WOULD
COME UP WITH.

YEAH, DEFINITELY,
AND I LIKE HOW THEY MATCH

THE PINK, SORT OF
SALMON PINKY LINING,

TO THE SILVER TOPS.

OH, LOOK. THERE'S
A PINK LINING, AS WELL--

LOOK AT THAT--
AND THEY GLITTER,

AND YOU'VE GOT
A MATCHING

GOLD PAIR
OVER THERE.

YES, WITH A YELLOW LINING,
AND THEN, MOST IMPORTANTLY,

WE HAVE GEORGE'S
ACTUAL CORONATION SHOES.

THE MOMENT
OF BECOMING KING,

HE WAS WEARING
THESE SHOES,

AND THEY'RE SILVER
AGAIN, AND THEY HAVE

THE LITTLE, RED
HEELS OF ROYALTY.

NOW, THIS WAS
THE GREATEST SHOW

ON EARTH, WASN'T IT?

TELL ME A BIT MORE
ABOUT IT.

I THINK IT LOOKED
SPECTACULAR,

BUT I THINK IT ALSO
LOOKED A BIT STRANGE

BECAUSE WHAT GEORGE DID,
HE MADE ALL THE COURTIERS

WEAR SOME SORT OF HISTORIC
FANCY DRESS OUTFIT,

SOME SORT OF
TUDOR/STUART NUMBER.

WAS THIS DIGNIFIED
FOR A POOR, AGED PEER

WITH KNOBLY KNEES
TO BE SENT OUT

IN WHITE STOCKINGS?

I--
PROBABLY NOT.

I MEAN, I GUESS
THEY WEREN'T ALL OLD.

THERE WERE
PROBABLY SOME MEN

WITH REALLY NICE
KNEES AND NICE LEGS,

UM, BUT IT HAS AN AIR
OF SORT OF THEATER

FANCY DRESS
ABOUT IT, I THINK.

DID THEY HAVE TO PAY
FOR THEIR OWN COSTUMES?

AS FAR AS I
UNDERSTAND, THEY DID.

I'VE READ SOMEWHERE
THAT ONE OF THESE

COULD COST UP
TO ABOUT £250.

THAT'S A LOT OF MONEY.

WHAT DID PEOPLE
REALLY THINK

OF GEORGES'
LOVE OF CLOTHES?

I THINK THEY THOUGHT
IT WAS A BIT UNDIGNIFIED.

FOR A KING, YOU SHOULD
MAYBE OCCUPY YOUR THOUGHTS

WITH OTHER THINGS
THAN THE CUT

OF YOUR PANTALOONS
OR YOUR CRAVATS.

HE WAS TOO BUSY FUSSING
AROUND WITH HIS BUTTONS.

I THINK THAT MAY BE WAS
WHAT A LOT OF PEOPLE THOUGHT.

WHAT HAPPENED TO HIS
FABULOUS WARDROBE

AFTER HE DIED?

WELL, QUITE A LOT
WAS SOLD OFF.

UM, SO WE HAPPEN TO HAVE
AN AUCTION CATALOG

WHICH LISTS SOME
OF THE THINGS HE HAD.

HE HAD 28 WHITE WAISTCOATS,
OF WHICH WE HAVE 3.

BUT WHY DID HE NEED
28 WHITE WAISTCOATS?

WELL, THAT'S
A GOOD QUESTION.

WHY DOES ANYONE
NEED 28 WAISTCOATS?

ONE OF THEM IS HERE,
AND IF YOU OPEN IT UP,

YOU CAN ACTUALLY SEE IT SAYS
HERE P.R. FOR PRINCE REGENT,

AND YOU CAN SEE
HOW BIG IT IS...

IT'S LARGE.

BUT WHAT IS REALLY
BIZARRE IN HERE,

THERE IS ONE LOT
THAT YOU COULD BUY--

TWO MASQUERADE NUNS DRESSES
AND A RED PETTICOAT.

WHAT WAS DOING WITH
THE NUN'S DRESSES?

I HAVE ABSOLUTELY
NO IDEA.

MAYBE HE WENT SOMEWHERE
DRESSED UP AS A NUN.

OH, THAT'S A BRILLIANT
IMAGE, ISN'T IT? HA HA!

RATHER LARGE NUN.

WORSLEY: ALL THIS MEANT
THAT WHEN THE KING DIED,

HE WASN'T MUCH MOURNED.

THIS BOOK WRITTEN ABOUT HIM
THE YEAR AFTER HIS DEATH

SAYS THAT TO GEORGE IV,
"THE CUT OF A COAT

"BECAME OF GREATER CONSEQUENCE

THAN THE AMELIORATION
OF THE CONDITION OF IRELAND."

HE CARED MORE ABOUT
"THE TIE OF THE NECKCLOTH"

THAN HE DID ABOUT
PARLIAMENTARY REFORM.

INSTEAD OF GOVERNING
THE COUNTRY,

HE'D SPEND ALL MORNING TALKING
WITH HIS TAILOR

ABOUT THE MERITS
"OF LOOSE TROUSERS"

OVER "TIGHT PANTALOONS."

HIS OBITUARY IN THE "TIMES"
NEWSPAPER CLAIMED

THAT NEVER WAS AN INDIVIDUAL
REGRETTED LESS

BY HIS PEOPLE
THAN THIS DECEASED KING.

WHAT EYE HAS WEPT FOR HIM?

GEORGE IV WAS THE LEAST POPULAR
KING SINCE CHARLES I,

AND HIS WASTEFUL AND EGOTISTICAL
ATTITUDE TO CLOTHES

WAS ONE OF THE REASONS
THAT THE MONARCHY'S IMAGE

REACHED SUCH A LOW POINT
IN THE EARLY 19th CENTURY.

AN INCREASINGLY CRITICAL PRESS
MEANT THAT PEOPLE

WERE MORE AWARE THAN EVER
OF WHAT THE ROYALS WERE UP TO,

YET THE MONARCHY'S STATUS
WAS ABOUT TO BE TRANSFORMED

BY A RATHER UNLIKELY FIGURE.

IF YOU WERE ASKED TO NAME
THE MOST CLOTHES-OBSESSED,

IMAGE-CONSCIOUS KING OR QUEEN,

YOU PROBABLY WOULDN'T
COME UP WITH QUEEN VICTORIA.

MOST PEOPLE THINK OF HER
AS A LITTLE, OLD LADY

DRESSED IN BLACK,
LOOKING LIKE A POTATO,

BUT ACTUALLY, SHE LOVED CLOTHES,
AND QUEEN VICTORIA

IS THE WOMAN WHO GAVE US
THE WHITE WEDDING DRESS.

VICTORIA MAY BE REMEMBERED
AS THE WIDOW IN BLACK,

BUT AT HER WEDDING,
SHE ABANDONED THE CONVENTION

OF WEARING ROYAL ROBES.

SHE CHOSE INSTEAD
A WHITE DRESS

AND EVEN DESIGNED
HER BRIDESMAIDS' OUTFITS,

BUT IT WASN'T ALL BLACK AND
WHITE IN VICTORIA'S WARDROBE.

DEIDRE, THIS
IS NOT OUR IDEA

OF QUEEN VICTORIA,
IS IT?

SHE'S PRETTY SHORT,
AND SHE'S PRETTY

TEENY TINY
AROUND THE WAIST.

LOOK HOW SMALL
THAT IS.

SHE IS. WELL, SHE
WORE THIS DRESS

WHEN SHE WAS ABOUT

16 YEARS OLD.

SO IT IS PRETTY
TEENY TINY.

IT'S SO CUTE.
IT IS CUTE.

SHE WAS 5' 1 3/4",

AND THE SLEEVES ARE
VERY BEAUTIFULLY PUFFED,

AS ANY 1830s
EVENING GOWN WOULD BE.

THE SILHOUETTE OF THE DRESS
IS ALSO OFF THE SHOULDER

AND CREATES A VERY BEAUTIFUL
LINE AROUND HER NECKLINE.

IT'S POSSIBLE
SHE WORE IT

THE FIRST TIME SHE
MET PRINCE ALBERT.

THAT'S SO ROMANTIC.

WHAT DO YOU THINK
SHE THOUGHT OF FASHION?

BECAUSE SHE REALLY
DOESN'T HAVE A PLACE

ON THE BEST-DRESSED LIST

OF QUEENS OF HISTORY,
DOES SHE?

SHE WAS CERTAINLY VERY,
VERY INTERESTED IN FASHION

AND EXTREMELY AWARE
OF THE POWER

THAT FASHION HAD IN
SHAPING PUBLIC OPINION.

FOR BIG PUBLIC OCCASIONS,
SHE ALWAYS WORE BRITISH,

AND THAT WAS SOMETHING
THAT WAS ALWAYS

CLEARLY IDENTIFIED
IN NEWSPAPER ARTICLES

DESCRIBING HER CLOTHES
FOR ANY PARTICULAR EVENT.

DO YOU THINK
THAT QUEEN VICTORIA

SELF-CONSCIOUSLY
CONSTRUCTED HER IMAGE?

DEFINITELY.

SHE WAS ABSOLUTELY
OBSESSED WITH THEATER

TO THE POINT WHERE
SHE ACTUALLY DRESSED

HER FAMILY
AND FRIENDS, AS WELL.

SO SAY, FOR INSTANCE, UM,
THIS IS THE CHRISTENING

OF PRINCESS VICKY,
HER ELDEST DAUGHTER,

AND YOU CAN SEE
THAT THE QUEEN IS HERE

WEARING A VERY
MAGNIFICENT DRESS

IN SILVER AND GOLD,
LOOKING VERY QUEENLIKE,

BUT IT'S ALSO A VERY SPECIAL
GROUP, UM, DISTINGUISHED

BY THEIR UNIFIED CLOTHING
IN SILVER, GOLD, AND WHITE,

AND AGAIN, WHEN QUEEN VICTORIA
VISITED SCOTLAND IN 1842,

SHE WENT TO DRUMMOND CASTLE
FOR THIS ENORMOUS BALL

WHERE EVERYONE WORE TARTAN
EXCEPT FOR HER.

OH! IT SAYS HERE,
"HER DRESS WAS COMPOSED

OF RICH SPITALFIELDS
SILK OF A PALE PINK."

ARE YOU SAYING THAT

SHE OUTCLASSED
EVERYBODY ELSE?

NOT NECESSARILY THAT SHE
OUTCLASSED EVERYONE ELSE,

BUT SHE'S CERTAINLY
DRESSING TO STAND OUT HERE.

SHE HAD WORN TARTAN
THROUGHOUT THE ENTIRE

VISIT TO SCOTLAND
IN 1842.

FOR DAYS ON END,
SHE'S DRESSED FROM HEAD

TO TOE IN TARTAN, AND ON
THE BIGGEST, BIGGEST DAY

OF THE ENTIRE VISIT,
SHE DECIDES TO WEAR

PALE PINK IN FRONT
OF A BACKDROP OF TARTAN.

MM, THAT SOUNDS RATHER
LOVELY, DOESN'T IT?

WORSLEY: MICROMANAGING HER OWN
AND HER FAMILY'S WARDROBE

HELPED QUEEN VICTORIA TO WIN
OVER THE HEARTS OF HER PEOPLE

AND TO MAKE THE MONARCHY
POPULAR ONCE AGAIN.

VICTORIA UNDERSTOOD NOT ONLY
THE POWER OF DRESS,

BUT ALSO THE POWER OF THE PRESS.

HERE'S A LETTER
FROM QUEEN VICTORIA TO HER SON

ABOUT HER BELIEF
IN THE POWER OF DRESS.

SHE SAYS, "IT'S THE ONE
OUTWARD SIGN FROM WHICH PEOPLE

"CAN AND OFTEN DO JUDGE

"THE INWARD STATE OF MIND
OF A PERSON,

"AND IT'S OF
PARTICULAR IMPORTANCE

IN PERSONS OF HIGH RANK."

SO SHE SAYS TO HIM, "WE DO
EXPECT THAT YOU WILL NEVER WEAR

ANYTHING EXTRAVAGANT OR SLANG,"
AS SHE PUTS IT, TOO CASUAL,

"BECAUSE THAT WOULD PROVE
A WANT OF SELF-RESPECT

AND BE AN OFFENSE
AGAINST DECENCY."

LIKE ELIZABETH I,

VICTORIA MADE CAREFUL
CLOTHING CHOICES

THAT PLAYED WELL TO HER PEOPLE,

AND, LIKE ELIZABETH, VICTORIA
ENJOYED A LONG AND STABLE REIGN.

SHE KNEW THAT HER DRESSES
WOULD MAKE THEIR IMPACT

THROUGH NEWSPAPER REPORTS.

WITH EXPANDING READERSHIPS AND
THE INTRODUCTION OF PHOTOGRAPHY,

SHE, HER FAMILY,
AND THEIR DECEDENTS

WOULD BE UNDER CLOSER SCRUTINY
THAN EVER BEFORE,

BUT SOME OF HER SUCCESSORS
WERE LESS PRUDENT,

AND THE RESULTS FOR THE MONARCHY
WERE NEARLY CATASTROPHIC.

THIS IS A GENTLEMAN'S SUIT
FROM THE 1930s.

NOW, YOU MIGHT THINK
THAT IT'S A BIT LOUD.

LOOK AT THIS HOUNDSTOOTH
IN THE TWEED,

AND YOU CAN IMAGINE
BERTIE WOOSTER, PERHAPS,

GOING OUT IN A SUIT LIKE THIS,

BUT IT ISN'T ACTUALLY OFFENSIVE
TO OUR EYES.

AT THE TIME, THOUGH,
THE ESTABLISHMENT THOUGHT

THAT THIS SUIT WAS SCANDALOUS,
AS THEY DID ALSO ITS OWNER,

WHO WAS EDWARD VIII.

EDWARD VIII's APPROACH
TO CLOTHING

WAS RATHER LIKE GEORGE IV's.

HIS RELATIONSHIP WITH THE
AMERICAN DIVORCEE WALLIS SIMPSON

WAS THE REAL REASON
THAT HE ABDICATED IN 1936,

BUT EDWARD'S PLAYBOY LIFESTYLE

AND THE WARDROBE
THAT HE FAVORED--

HERE AT HIS GOLF CLUB,
FOR EXAMPLE==

HAD CAUSE CONCERN
MUCH EARLIER ON.

SHAUN, LOOKING
AT THESE PHOTOS

OF THE PRINCE OF WALES,
THE FUTURE EDWARD VIII,

HE LOOKS PRETTY SMART
IN ALL OF THEM, I'D SAY.

I'D SAY THAT WAS
A PRETTY SMART JACKET

THAT HE'S WEARING THERE.

WHAT WAS THE PROBLEM
WITH THIS?

WELL, IN TODAY'S
CONVENTIONS,

IT IS
A SMART JACKET.

IT'S A GLEN PLAID
JACKET,

BUT TWEEDS,
GLEN PLAIDS LIKE THIS,

IT WAS WEAR
FOR THE COUNTRY.

IT WASN'T CITY WEAR,
AND HE WAS WEARING

THESE THINGS OUTSIDE
THE PLACE AT WHICH

THEY WERE SUPPOSED
TO BE WORN.

THAT'S WHERE
HE WAS PUSHING

THOSE BOUNDARIES.

SO IS THAT LIKE
TURNING UP TO ROYAL ASCOT

WEARING A SHELL SUIT?

I DON'T THINK IT'S QUITE
AS EXTREME AS THAT,

BUT CERTAINLY, YES,
IT WOULD HAVE BEEN--

IT WAS ABOUT
THE APPROPRIATENESS.

SO IN A TIME WHEN
HE WOULD HAVE BEEN

INSPECTING THE TROOPS
AND HE SHOULD HAVE BEEN

WEARING SOMETHING
FORMAL, PERHAPS UNIFORM,

IN THIS IMAGE,
HE'S WEARING

A DOUBLE-BREASTED
JACKET, WHICH, AGAIN,

WE THINK FOR BEING,
YOU KNOW,

RATHER CONVENTIONAL,

BUT HE'S WEARING IT
WITH A PAIR

OF SHEPHERD TWEED
TROUSERS.

THE FASHION
CONVENTION

WAS FOR NARROWER
EDWARDIAN TROUSERS

THAT HIS FATHER
WOULD HAVE WORN,

WHEREAS--
THESE ARE BAGS.

THEY ARE BAGS,
ABSOLUTELY,

AND HE VERY MUCH,
YOU KNOW,

PUSHED THIS BOUNDARY
WITH HIS TROUSERS,

AND HIS BIOGRAPHY
SAYS

HE DOESN'T
WEAR BAGS, AS SUCH.

THOSE ARE
BAGGY TROUSERS.

THEY ARE VERY
BAGGY TROUSERS,

AND, IN FACT, WHILE
HE HAD HIS JACKETS

MADE AT A TAILOR
IN LONDON, SCHOLTE'S,

HE HAD HIS TROUSERS MADE
BY AN AMERICAN TAILOR.

HE DIDN'T LIKE THE CUT
AND HAD THEM FLOWN OVER.

THAT'S SO--
THAT'S SO PROFLIGATE.

ABSOLUTELY,
WHAT WALLIS SIMPSON

CALLED "HIS PANTS
ACROSS THE OCEAN."

NO WAY. "HIS PANTS
ACROSS THE OCEAN"?

ABSOLUTELY, "PANTS
ACROSS THE OCEAN."

THAT'S BRILLIANT.

LOOK AT THE CONTRAST BETWEEN
THIS VERY FORMAL-LOOKING

GENT OVER HERE.
ABSOLUTELY,

AND THE BOWLER HAT,
AS WELL.

WHILE WE THINK
OF THAT AS BEING,

YOU KNOW, THE EPITOME
OF BRITISH TRADITION,

YOU KNOW, IT STARTED
OFF AS A HAT

FOR THE COUNTRY,
FOR SERVANTS.

YOU KNOW, HE'S
WEARING IT IN TOWN,

WEARING IT TO
INSPECT THE TROOPS.

HE STARTED
TO WEAR KNITWEAR.

HE POPULARIZED
FAIR ISLE KNITWEAR,

CERTAINLY IN GOLF

AND THEN INTO OTHER
FORMS OF LEISURE.

YOU ARE WEARING
HIS LEGACY TODAY.

IT'S WONDERFUL.
INDEED.

SO IT JUST SHOWS,
DOESN'T IT,

HOW IMPORTANT
HE WAS.

THIS SEEMS LIKE
THE ICONIC IMAGE TO ME

BECAUSE--
WHAT IS HE DOING?

HE'S GOT OFF AN AIRPLANE.

HE'S WEARING
A VERY STYLISH SUIT.

HE'S GOT THIS FUNNY,
LITTLE DOG WITH HIM,

AND HE'S DOING SOMETHING
VERY CAMP WITH HIS ARM.

HE IS, AND, CERTAINLY,
HE WAS THE MODERN MAN.

THIS, FOR ME,
SUMS UP EDWARD VIII.

WOULD YOU HAVE
EMPLOYED HIM

AT THE LONDON COLLEGE
OF FASHION?

ABSOLUTELY.
HA HA HA!

I'D EMPLOY HIM AS MY
TAILOR AND MY DRESSER.

HE'D HAVE YOUR JOB.
HA HA HA!

NOW, OBVIOUSLY,
EDWARD VIII DIDN'T ABDICATE

BECAUSE HE SPENT TOO MUCH TIME
ON THE GOLF COURSE

OR BECAUSE OF HIS FONDNESS
FOR KNITWEAR,

BUT IN THE EYES
OF THE ESTABLISHMENT,

THESE THINGS WERE SYMPTOMATIC.

TO THEM, EDWARD VIII
WAS TOO FASHIONABLE.

HE WAS TOO SLANG.

IF HE WASN'T DRESSED
LIKE A ROYAL,

PEOPLE THOUGHT HE WASN'T
BEHAVING LIKE A ROYAL,

AND THIS WAS MORALLY LAX.

EDWARD'S LOVE OF CLOTHES
KICKED OFF A DEBATE

THAT WOULD AFFECT
THE WARDROBE CHOICES

OF EVERY YOUNG ROYAL
FROM THEN UNTIL NOW--

HOW TO RESPOND TO FASHION.

IT WAS SOMETHING
THAT THE PRESENT QUEEN

HAD TO DEAL WITH
FROM AN EARLY AGE,

WHEN BRITAIN'S WARDROBES
WERE INVADED BY--

QUELLE HORREUR--
THE FRENCH FASHION HOUSE DIOR.

HAVING WOWED PARISIAN AUDIENCES
WITH HIS SUMPTUOUS

YET CONTROVERSIAL NEW LOOK
IN 1947,

CHRISTIAN DIOR THEN UNLEASHED IT
UPON THE BRITISH PUBLIC.

DIOR'S NEW LOOK
WAS PRETTY CONTROVERSIAL.

IN PARIS, SOME OF HIS MODELS
HAD THEIR CLOTHES

RIPPED FROM THEIR BODIES
BY DISAPPROVING CROWDS,

AND IN LONDON, THE HEAD
OF THE BOARD OF TRADE THOUGHT

THAT THIS WAS A RIDICULOUSLY
PROFLIGATE USE OF FABRIC

WHEN RATIONING
WAS STILL ENFORCED.

THE TROUBLE WAS, THOUGH,
THAT EVERY FEMALE FASHION LOVER

IN LONDON LOVED THIS,

INCLUDING THE FEMALE MEMBERS
OF THE ROYAL FAMILY.

WHILE DIOR'S TRIP TO LONDON
CAUSED A PUBLIC FRENZY,

THERE WAS SOMETHING SECRET
GOING ON BEHIND THE SCENES.

ONE DAY, HE PACKS UP
ALL OF HIS DRESSES INTO BAGS,

AND HE SNEAKS OUT THE BACK
OF HIS HOTEL TO TRAVEL

ACROSS LONDON
TO THE FRENCH EMBASSY,

AND THERE HE PUT ON A PRIVATE
SHOWING OF HIS COLLECTION

TO A WHOLE GAGGLE OF ROYALS,
INCLUDING THE DUCHESS OF KENT

AND PRINCESS MARGARET,
BUT APPARENTLY, ONE PERSON

WAS CONSPICUOUS BY HER ABSENCE.

THAT WAS PRINCESS ELIZABETH,
THE FUTURE QUEEN.

IT WAS ACCEPTABLE FOR
JUNIOR ROYALS TO DROOL OVER DIOR

AND HIS FRENCH FROCKS,
BUT APPARENTLY,

IT WASN'T ALL RIGHT FOR THE HEIR
TO THE BRITISH THRONE.

PRINCESS ELIZABETH'S
YOUNGER SISTER MARGARET

WAS THE ONE WITH THE FREEDOM
TO FROLIC WITH FASHION.

PRINCESS MARGARET
REMAINED AT THE FRONT

OF THE FASHION PACK
FOR HER WHOLE LIFE.

AFTER ALL, SHE WAS MARRIED
TO A FASHION PHOTOGRAPHER.

SHE WENT ON WEARING DIOR

FROM THE NEW LOOK
RIGHT INTO THE 1970s.

THIS DRESS FROM 1977 IS BY DIOR,

AND SHE WORE IT AT THE QUEEN'S
SILVER JUBILEE CELEBRATIONS.

LOUIS ARMSTRONG DESCRIBES THE
FASHION-LOVING PRINCESS MARGARET

AS "ONE HIP CHICK."

I DON'T THINK HE WOULD
HAVE BEEN ABLE TO SAY THAT

ABOUT HER ELDER SISTER
THE QUEEN.

WHILE MARGARET LOOKED EXOTIC
AND GLAMOROUS AND COOL,

HER ELDER SISTER REALIZED THAT

WITH HER POSITION
CAME RESPONSIBILITY.

LIKE HER GREAT-GREAT-GRANDMOTHER
QUEEN VICTORIA,

HER MAJESTY THE QUEEN
HAD TO MAKE CHOICES

THAT WERE CONSERVATIVE
AND VERY, VERY BRITISH.

AT FIRST, SHE USED
THE DESIGNER NORMAN HARTNELL,

WHO SHE'D INHERITED
FROM HER MOTHER,

BEFORE CHOOSING HARDY AMIES,
WHO'S FASHION HOUSE STILL LIES

AT THE HEART
OF BRITISH TAILORING.

OK. HERE WE HAVE
THE QUEEN'S PRESS BOOK.

LOOK HOW BIG IT IS, AND
IT SAYS "THE QUEEN."

YEAH, A GARGANTUAN
PRESS LOOK.

SO HERE WE GO
FROM THE BEGINNING.

SO HERE, THIS IS
THE PROCESSION, ALMOST,

THE PROCESS OF HARDY
GOING TO BUCKINGHAM PALACE,

AND THERE'S HARDY
IN THE MIDDLE THERE.

IT'S OBVIOUSLY
QUITE A MOMENT,

AT IT SAYS,
"SETTING OFF

FOR BUCKINGHAM PALACE,
1954."

YES. IT WAS.

YOU KNOW, HARDY AMIES
WAS REALLY PROUD,

REALLY PROUD OF HIS ROLE
DESIGNING FOR THE QUEEN.

UM, IT WAS HIS
LIFE'S WORK, REALLY.

WHAT HAPPENED
WHEN THEY GOT

TO BUCKINGHAM
PALACE?

THEY HAD TO GO
THROUGH THE BACK DOOR,

WHICH ALWAYS REALLY
IRRITATED HARDY...

THE BACK DOOR,
WAS IT?

HE ALWAYS THOUGHT HE SHOULD
HAVE GONE THROUGH THE FRONT.

SO THEY GO THROUGH THE BACK,
BACK DOOR AND MEET

HER MAJESTY WITH HER
OWN TEAM OF PEOPLE.

THERE WOULD HAVE BEEN
HER OWN FITTER.

SO HE DIDN'T
DO IT HIMSELF.

NO. HE WOULD
HAVE HAD--

THE QUEEN WOULD HAVE
HAD SOMEONE,

DISTANCE.
YEAH,

AND HE WOULD SAY,
YOU KNOW, "JUST MAYBE DO

SOMETHING HERE
WITH THE LAPEL"

OR THE HEM OF THE SKIRT
OR SOMETHING LIKE THAT

MAYBE LENGTHWISE.

IF YOU WERE THE QUEEN'S
DESIGNER THEN,

WHAT WERE THE RULES
AND REGULATIONS

THAT YOU HAD TO SORT
OF WORK WITHIN?

WELL, A HUGE BONUS WOULD
BE TO GET A COLOR RIGHT.

FOR EXAMPLE, HERE,
THE QUEEN IS WEARING

MAUVE IN JAPAN, AND THAT'S
THE IMPERIAL COLOR OF JAPAN.

SO WHEN HER MAJESTY
STEPPED FROM THE AIRCRAFT

WEARING THIS,
THE HOST NATION WERE

DELIGHTED THAT SHE
WAS PAYING HOMAGE TO THEM.

SO IT'S A COMPLIMENT
TO THE HOST NATION

TO INCORPORATE SOME
SORT OF A REFERENCE

TO THEIR OWN--
THEIR OWN CULTURE.

ABSOLUTELY.
ABSOLUTELY.

THE QUEEN CONSIDERED THIS
HER WORKING WARDROBE.

SHE WANTED TO BE SEEN,
EVEN ON A RAINY DAY--

NOW WE JUST SEE A TIP
OF IT THERE--AN UMBRELLA,

NORMALLY A TRANSPARENT
UMBRELLA

THAT THE PUBLIC,
HER PUBLIC,

COULD STILL SEE HER
IN ALL HER MAGNIFICENCE.

SO THAT'S WHY SHE'S
IN THE REALLY BRIGHT JADE

AND THE MAGENTA AND
WHAT I WOULD DESCRIBE

AS RATHER A TERRIBLE SHADE
OF ORANGE. HA HA HA!

THIS INCREDIBLE
TANGERINE.

THIS IS YOUR ROYAL DUTY.
YOU WILL WEAR THESE COLORS.

YES. YOU WILL
STAND OUT.

HA HA! AND I CAN'T
HELP NOTICING

THE ICONIC SHOES
AND HANDBAGS,

THE LOW-HEELED,
SHINY PUMPS

AND THAT OLD HANDBAG.

SO HE FELT THAT
SOMETIMES THAT BLACKNESS

DIDN'T REALLY COMPLIMENT
SOME OF THE SHADES

HE PUT THE QUEEN IN,
AND HERE WE HAVE A SHOE.

THIS IS A 1976 COURT
SHOE FOR HER MAJESTY.

MM-HMM.

VERY IMPORTANTLY,
SCRATCHES ON THE BOTTOM.

THEY'VE BEEN SCORED.
OH, YES.

LOOK. YOU CAN SEE
CRISSCROSSES

TO STOP HER
FROM FALLING OVER.

THEY ARE
AWFULLY SLIPPY,

THOSE LEATHER SOLES,
AREN'T THEY?

THEY ARE AND
SLIGHTLY RAISED HERE.

THAT MUST BE TO
SUPPORT THE ARCHES.

THAT'S RIGHT.

YOU COULD STAND UP
ALL DAY IN THAT SHOE.

YES. ALL ABOUT
COMFORT. YES.

SO IF YOU'RE
THE QUEEN'S DESIGNER,

I IMAGINE THAT THIS IS A
LITTLE BIT CONSTRICTING.

IS IT DIFFICULT?

IS IT A BIT FRUSTRATING,
DO YOU THINK?

I THINK SO. SHE HAD
A LITTLE BYLINE THAT SAID--

SHE'D SAY TO HARDY,
"I DON'T WANT TO LOOK

LIKE THE GIRL ON
THE COVER OF "VOGUE,"

AND BY SAYING THAT,
SHE WAS SAYING TO HARDY,

"THIS IS TOO
FASHIONABLE FOR ME."

WORSLEY: THE QUEEN WOULD NEVER
HAVE BECOME THE CLOTHES HORSE

THAT HARDY LONGED TO DRESS,
BUT INSTEAD, SHE WON RESPECT

BY STICKING TO HER STYLE.

BY WEARING THE SAME
SORT OF THING FOR 70 YEARS,

SHE HAS CREATED A TIMELESS LOOK
THAT'S WON PRAISE

FROM SOME OF THE GREATEST
FASHION ARBITERS.

MIUCCIA PRADA HAS SAID
THAT THE QUEEN IS SIMPLY

"ONE OF THE MOST ELEGANT WOMEN
IN THE WORLD."

JUST AS QUEEN VICTORIA
COMMANDED,

RECENT ROYALS HAVE CAREFULLY
STUCK TO THE RULES

ABOUT NOT FLIRTING TOO MUCH
WITH FASHION.

WHEN A MEMBER OF THE ROYAL
FAMILY DID MAKE THE BREAK

AND WEAR FOREIGN FASHION,
IT WAS ONLY AFTER THE ENDING

OF HER ROYAL CAREER,
WHEN THE WORLD WITNESSED

THE MOST GLAMOROUS
AND SUCCESSFUL

CLOTHING SALE IN HISTORY--
THE CHRISTIE'S NEW YORK

CHARITY AUCTION
OF THE ROYAL WARDROBE

OF DIANA, PRINCESS OF WALES.

MEREDITH, WHAT WERE
THE CIRCUMSTANCES

OF THE AUCTION OF ALL
OF THE DRESSES IN 1997?

WELL, RATHER
SURPRISING ONES.

WELL, I WAS CERTAINLY
VERY SURPRISED,

BECAUSE ONE SUNDAY MORNING
IN SEPTEMBER, I WAS SUMMONED

TO THE MAN WHO WAS RUNNING
CHRISTIE'S AT THE TIME,

WHO SAID, "I WANT YOU TO GO
DOWN TO KENSINGTON PALACE.

PRINCESS DIANA HAS DECIDED
TO SELL HER WARDROBE,"

AND I SAID,
"YOU MUST BE JOKING."

HE SAID, "I'M NOT.
I THINK IT'S FOR CHARITY.

"YOU KNOW, SHE'S VERY EXCITED.
YOU BETTER GO AND MEET HER."

SO I RANG UP,
AND A VOICE ANSWERED,

AND IT WAS PAUL BURRELL,
THE BUTLER,

I THOUGHT SOUNDING
RATHER KIND OF POMPOUS.

UM, SO OFF I WENT,
AND SHE EXPLAINED HER IDEA

OF LESSENING THE LOAD
ON HER WARDROBE

BY SELLING A LOT
OF DRESSES FOR CHARITY,

WHICH WAS KIND OF A BIT
OF A SHOWSTOPPER,

QUITE FRANKLY, OVER A CUP
OF COFFEE AND A BICKIE.

WHAT DO YOU THINK
HER MOTIVATION

WAS FOR DOING THIS?

I THINK TWO THINGS.

FIRST OF ALL, SHE'D
SERIOUSLY RUN OUT OF SPACE

IN HER WARDROBE
IN HER DRESSING ROOM,

BUT THAT'S A SORT
OF JOKEY ANSWER.

THE SERIOUS ANSWER
WAS, YOU KNOW,

IT WAS THE END
OF ONE KIND OF LIFE.

SHE WASN'T GOING TO DO
STATE VISITS ANYMORE.

SHE WASN'T GOING TO SORT OF
OPEN THINGS, CUT RIBBONS,

AND ALL OF THOSE SORT
OF THINGS COULD GO,

AND THE THIRD REASON,
I SUSPECT, WAS THAT

SHE ACTUALLY QUITE
WANTED TO CLAMBER

INTO CHANEL AND VERSACE.

SHE LIKED FRENCH
AND ITALIAN CLOTHES,

AND SHE'D ONLY EVER
BEEN ABLE TO WEAR,

QUITE RIGHTLY SO,
ENGLISH CLOTHES BEFORE THAT.

HOW DID YOU
GO ABOUT SELECTING

THESE PARTICULAR
80 LOTS?

WELL, IT WAS A COLLABORATIVE
EFFORT BETWEEN ME,

THE PRINCESS,
SOMETIMES PRINCE WILLIAM,

WHO WAS OFTEN
DOWN FROM EATON

FOR DENTISTS
OR WHATEVER.

UM, THE BUTLER
PLAYED A PART.

WE USED TO HAVE THEM
ON RACKS IN THE DRAWING ROOM

AND GO THROUGH THEM AND
ELIMINATE, UM, SOME OF THEM.

PRINCE WILLIAM WOULD SAY,
"REALLY, YOU CAN'T SELL THAT.

IT'S JUST, YOU'VE WORN IT
A BIT TOO MUCH,"

AND THEN THE ONES THAT WE
SORT OF SELECTED HAD TAGS.

PRINCE WILLIAM WAS TOLD HOW
TO TAG THINGS BY THE BUTLER.

SO HE BUSILY TAGGED THINGS,
UM, AND WE FINALLY ARRIVED

AT THE SORT OF, WE THOUGHT,
PRETTY MUCH THE BALANCE.

SO WE HAD SOME
VERY GRAND DRESSES

AND SOME
NOT-SO-GRAND DRESSES.

SOME THINGS, YOU MIGHT SAY,
WERE NOT FOR EVERYBODY,

BUT FOR PEOPLE
WHO WANTED TO BE

PRINCESSES FOR A DAY,
I GUESS.

YEAH,
AND THE CLIMAX--

THE CLIMAX OF THE
WHOLE THING WAS--

THE FIRST NIGHT,
THE SALE, AND THE CLIMAX

WAS THE LOT BEFORE THE END--
LOT 79, THE-- WHAT I CALL,

THE JOHN TRAVOLTA DRESS
THAT SHE DANCED

WITH JOHN TRAVOLTA
IN THE WHITE HOUSE.

I THINK I'VE
ACTUALLY MARKED--

"X" MARKS THE SPOT,
AND IT'S VERY FAMOUS.

IT WAS DARK BLUE VELVET,
MADE BY VICTOR EDELSTEIN,

AND SHE LOOKED
RAVISHING IN IT.

AND AM I RIGHT IN SAYING
THAT AT THE TIME

THAT IT WAS SOLD, IT
WAS THE MOST EXPENSIVE

ITEM OF CLOTHING EVER?

YES. IT WAS.

I'LL HAVE TO REFRESH
MY MEMORY, AND IT SAYS HERE,

WE SOLD IT FOR 222,500,

WHICH IS A LOT OF MONEY.

YOU WOULDN'T WANT TO
SPILL YOUR BAKED BEANS

DOWN THAT ONE,
WOULD YOU?

NO. SHE WAS
ALWAYS WORRIED.

SHE SAID, "YOU KNOW,
IT'S AWFUL GOING TO BANQUETS.

"YOU'RE ALWAYS WORRIED
ABOUT THE CHICKEN

"BECAUSE IT'S ALWAYS
IN A SAUCE.

"YOU KNOW, YOU CAN'T
TUCK A NAPKIN IN, CAN YOU,

IF YOU'RE SITTING AT
A KIND OF STATE BANQUET."

I DID-- I DID
SYMPATHIZE, I MUST SAY.

THIS IS JUST ONE
OF THE 80 DRESSES FROM THE SALE,

WHICH MADE A TOTAL
OF £3.25 MILLION.

IT'S A GREEN VELVET
HALTER-NECK EVENING DRESS

WITH DIAMOND BUTTONS,
AND THIS AND THE REST

MADE SO MUCH MONEY NOT BECAUSE
THEY'RE LOVELY DRESSES,

WHICH THEY ARE,
BUT BECAUSE THEY WERE ROYAL,

BECAUSE DIANA,
PRINCESS OF WALES,

WORE THEM HERSELF.

HER DRESSES WERE HER
PERSONAL STATEMENTS.

THIS IS HOW SHE SPOKE TO US.

SHE EVEN TOLD
ONE OF HER DESIGNERS

WHAT WENT THROUGH HER MIND
WHEN SHE WAS PICKING AN OUTFIT.

SHE WOULD THINK, "WHAT AM
I COMMUNICATING IF I WEAR THIS?"

THESE WORDS OF PRINCESS DIANA'S
SUM UP THE REASON WHY

THE ROYAL WARDROBE THROUGHOUT
HISTORY HAS BEEN SO IMPORTANT.

FOR EACH AND EVERY KING AND
QUEEN OR PRINCE AND PRINCESS,

THERE'S BEEN NO SUCH THING
AS AN ORDINARY DRESS

OR A BORING, OLD
PAIR OF TROUSERS.

IN THE EYES OF THEIR PEOPLE,
EVERY SINGLE OUTFIT

HAS ALWAYS BEEN SEEN
AS A STATEMENT.

CLOTHING HAS CREATED THEIR IMAGE

AND HELPED DETERMINE WHETHER
THEY'VE BEEN LOVED OR LOATHED.

FOR THE ROYAL FAMILY,
ONE WAS, ONE IS,

AND ONE PROBABLY ALWAYS WILL BE
WHAT ONE WEARS.