Princess Margrethe of Denmark and Henri de Laborde de Monpezat: June 10, 1967


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I love the new photos! The bride and groom both looked so happy.
 
:previous: I know - it's one of those weddings when you can read the most profound love on the couple's faces, and they manage to bring this off without kissing publicly once that day (other than a brief one when they met at the altar). Yes, I love the balcony kisses that we always have today, but I think this seems somehow more beautiful and deeper, whereas what we have today can sometimes seem sloppy.
 
Maura724 said:
:previous: I know - it's one of those weddings when you can read the most profound love on the couple's faces, and they manage to bring this off without kissing publicly once that day (other than a brief one when they met at the altar). Yes, I love the balcony kisses that we always have today, but I think this seems somehow more beautiful and deeper, whereas what we have today can sometimes seem sloppy.
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The mystery of romance... :wub:
 
Thanks, principessa - I've wanted to see a wedding video but all I've ever been able to find is a really brief clip from the "A Royal Family" documentary on Christian X's descendants.
 
That's such a sweet video! Each time I see this dress I fall a little more in love with it. Margrethe was one of the most regal brides.
 
:previous: Thanks for sharing this photo! :flowers:

I think Margrethe is one of the most underrated royal brides. Her wedding dress was a masterpiece, combining all the right elements -- elegance, romance, timelessness, flawlessness, femininity, individuality, understated opulence, mystery. Yet what I most like about this gown, and her whole bridal look, is the classic regal presence (an important element for a princess, I feel) and superb craftsmanship. I feel it was a dress truly suited to an heir, being very much "princess," yet alluding to "queen" -- if that makes any sense!

The dress was clearly made for Margrethe -- the placing of the lace panel, the rolls of the skirt, the neckline, the sleeves, the positioning of the brooch (I have often wondered how it would have looked without it). She wore the dress, it did not wear her.

I've always thought that, for those with access to such exquisite veils, it would be a torturous choice between a lace veil with a plainer dress and a lace gown with a plainer veil. Yet Margrethe (and the designer of course :lol:) combined the two - a focal point veil, a gown with lace - with harmonic balance. The choice of fabrics also worked well together; neither was too heavy or too delicate, too shiny or too flat for the other.

It all, and she herself, looked so graceful and unassuming yet statuesque. But ... the one thing I wished were different was the train. Its sweeping fall from the shoulders added to the imperial air however the bottom edge (I never know which is the top and which is the bottom end of a train) was too angular for my taste.

Back to the replica: I find the concept of replicas a little puzzling. I understand inspiration, especially when the inspired gown is still its own. But, to me, a replica seems a little silly, perhaps even 'childish,' as though a grown woman is literally trying to be a princess, a fairytale one, for a day. But what I find most odd is, why copy a dress in design if it's not its equal in quality and workmanship? It is often these two factors that make a royal wedding dress stunning. Without this, the dress looks half as good, as the replicas clearly demonstrate. (Perhaps I just need to see a lovely replica and my opinion will be permanently changed! ;))
 
Very nice wedding dress. The replica of it is better than Princess Mary's but again, the material is off. Who is designing these dresses that they can't bother to buy the correct material. Also the shoulders are too puffy, which Margrethe's fit wonderfully on her arms.
I wonder if Silvia, was inspired by this wedding dress 9yrs later?
 
I never knew Margrethe wore such an amazing wedding dress. I think she looked absolutely beautiful!
 
Yes, Margrethe's dress was amazing and the replica so...poor.

XeniaCasaraghi said:
I wonder if Silvia, was inspired by this wedding dress 9yrs later?
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Silvia of Sweden? I personally don't see much similarity between the two that I'm curious to know, which elements do you think she might have drawn inspiration from?
 
PrincessApple said:
:previous: Thanks for sharing this photo! :flowers:

I think Margrethe is one of the most underrated royal brides. Her wedding dress was a masterpiece, combining all the right elements -- elegance, romance, timelessness, flawlessness, femininity, individuality, understated opulence, mystery. Yet what I most like about this gown, and her whole bridal look, is the classic regal presence (an important element for a princess, I feel) and superb craftsmanship. I feel it was a dress truly suited to an heir, being very much "princess," yet alluding to "queen" -- if that makes any sense!

The dress was clearly made for Margrethe -- the placing of the lace panel, the rolls of the skirt, the neckline, the sleeves, the positioning of the brooch (I have often wondered how it would have looked without it). She wore the dress, it did not wear her.

I've always thought that, for those with access to such exquisite veils, it would be a torturous choice between a lace veil with a plainer dress and a lace gown with a plainer veil. Yet Margrethe (and the designer of course :lol:) combined the two - a focal point veil, a gown with lace - with harmonic balance. The choice of fabrics also worked well together; neither was too heavy or too delicate, too shiny or too flat for the other.

It all, and she herself, looked so graceful and unassuming yet statuesque. But ... the one thing I wished were different was the train. Its sweeping fall from the shoulders added to the imperial air however the bottom edge (I never know which is the top and which is the bottom end of a train) was too angular for my taste.

Back to the replica: I find the concept of replicas a little puzzling. I understand inspiration, especially when the inspired gown is still its own. But, to me, a replica seems a little silly, perhaps even 'childish,' as though a grown woman is literally trying to be a princess, a fairytale one, for a day. But what I find most odd is, why copy a dress in design if it's not its equal in quality and workmanship? It is often these two factors that make a royal wedding dress stunning. Without this, the dress looks half as good, as the replicas clearly demonstrate. (Perhaps I just need to see a lovely replica and my opinion will be permanently changed! ;))
Click to expand...


Yes,very true.She looked like the queen she knew she was going to be.
 
XeniaCasaraghi said:
Very nice wedding dress. The replica of it is better than Princess Mary's but again, the material is off. Who is designing these dresses that they can't bother to buy the correct material.
Click to expand...
I would guess that the material to the wedding dress(es) were custom-made and that it's impossible to find the same material again, at least not to an affordable cost.
 
:previous: Possibly, especially the precise shade, but they could use a similar, if not exact, fabric of better quality than what has been chosen.
 
PrincessApple said:
:previous: Possibly, especially the precise shade, but they could use a similar, if not exact, fabric of better quality than what has been chosen.
Click to expand...
As the dress is for sale for 3500 Danish crowns, it's a very cheap copy and I don't think the shop have bothered very much when it comes to the material in the dress, the other "Get married like a princess" dresses are more expensive and in my opinion looks much less like the original dresses. Here's the link to all the dresses: Billed-Bladet - Kongelige brudekjoler: Bliv gift som en prinsesse
 
Just my opinion, but if they can't make a good copy then don't make one at all. Especially with these dresses that were worn decades ago. It has taken enough time that a good copy of them should be out there; not these cheap ones.
BTW I also must agree with whoever said that Margrethe's wedding dress was a master piece. That is the one thing that comes to mind when I see it.
 
XeniaCasaraghi said:
BTW I also must agree with whoever said that Margrethe's wedding dress was a master piece. That is the one thing that comes to mind when I see it.
Click to expand...

Oh yes, it is a very simple design yet so totally elegant, classic and romantic. I do love the lace embroidered panel in the centre. Absolutely exquisite, regal and completely timeless. Definitely a gown fit for a Queen.
 
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The placement of the lace panel was perfect! Does anyone know if the lace used has any historical significance (like the lace used for the skirt of Mary's dress does)?
 
PrincessApple said:
The placement of the lace panel was perfect! Does anyone know if the lace used has any historical significance (like the lace used for the skirt of Mary's dress does)?
Click to expand...

I believe it was the very same lace.
 
It was indeed the very same lace. Well, perhaps not the same lace, as there are wide and narrow pieces of the lace. But both the lace and the veil are part of the same lace from Connaught :)

From: http://kongehuset.dk/publish.php?id=3399

The Bridal Gown

Sketches of the bridal gown
The bridal gown Miss Mary Donaldson white duchess satin which shines like mother-of-pearl. The gown is made up of long panels that open 10 centimetres from the waist, and are sewn in such a way that between each panel old lace, which is almost 100 years old, can be seen. The lace originates, as does the veil, from nuns in Connaught, Ireland. The luminous mother-of-pearl colour of the satin tones perfectly with the old lace.
The sleeves are called ‘Cala–sleeves’ by the designer, Uffe Frank, because they fold around the arms like the Cala lily.
8 metres of the old lace has been used for the gown itself, and 24 metres of duchess satin which is fully-lined with silk organza. 23½ meters of duchess satin has been used for the train, which is 6 metres long measured from the waist. The material has been doubled and stiffened with 15 metres of heavy organza. Additionally, 31 metres of tulle has been used to hold the skirt out at the back. This tulle has been edged and finished with 100 metres of chantilly lace from France.
The Bridal Veil
The veil is of Irish lace which, with two pieces of lace bordering, a handkerchief and a fan, was a gift to the late Queen Ingrid's mother, Crown Princess Margret of Sweden. She had used the veil and the lace for her wedding in St. Georges Chapel, Windsor on 15 June 1905. Queen Ingrid also used these pieces (the wide and narrow lace on the train) for her own wedding in Storkyrkan (Stockholm Cathedral) in Stockholm on 24 May, 1935. Queen Anne-Marie used the veil and only the narrow lace on her gown for her wedding in Athens on 18 September 1964. Queen Margrethe also used the veil and only the wide lace on her gown for her wedding in Holmens Naval Church on 10 June 1967. Princess Benedikte used the veil and also the wide lace on her gown for her wedding in Fredensborg Place Chapel on 3 February 1968. The veil has since been worn by Princess Alexandra zu Sayn-Wittgenstein-Berleburg on 6 June 1998 and by Princess Alexia of Greece, on 9 June 1999.
The Designer
Uffe Frank was trained at the College Arts and Crafts in Copenhagen in 1985 and thereafter studied for a year at the Royal College of Art in London, where he continued his studies to become a designer.
Previously he had been apprenticed to the legendary haute-couture designer, Jørgen Bender, who for many years had created and designed the grand gowns for the Danish and Swedish Royal families.
Uffe Frank has also worked for Birger Christensen, and in the fashion houses of Valentino and Giorgio Armani. Today has his own studio in Milan, Italy.
The bridal gown was created according to Mary Donaldson’s own ideas and wishes, in close
co-operation with Uffe Frank.
The Tailor
Birgit Hallstein is 34 years old and is a fully qualified tailor working with the Danish fashion designer Lars Andersen. This is a craft with proud traditions, which Birgit Hallstein continues to follow in her work with the Crown Princess’s bridal gown. Birgit Hallstein has been a fully trained tailor for 13 years and works with all aspects of the process, from sewing and cutting, and from haute couture to theatrical costumes.
The Jewellery
The bride’s tiara is a gift from Her Majesty the Queen and His Royal Highness the Prince Consort.
The future Crown Princess has had a new pair of earrings made for her wedding. The earrings are made of platinum with brilliant-cut diamonds and South Sea Island pearls. They are hand-made by the jewellery designer, Marianne Dulong.
The Handkerchief
On her wedding day the bride has chosen to carry a very beautiful lace handkerchief made by the lace-making teacher, Astrid Hansen. The pattern is a well-known Tønder pattern (Tønder is a small town in southwest Jutland where the finest lace is made) called “The great heart of Denmark”. When the engagement was announced on 8 October 2004, Astrid Hansen began her work on the handkerchief.
Astrid Hansen worked 6 hours a day. The plan was that the lace should be completed by Easter and on Easter Monday the last needle was set and the lace removed from the pins.
Click to expand...
 
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What a lovely sentimental touch for the current queen and future queen to adorn their wedding gowns with the same lace. However, I assume it is from the same lace and not the exact same piece, even though the information reads as though some of the same lace might have been used for different dresses. If any of it remains, I wonder if Christian's bride (or Vincent's, or Isabella or Josephine) will also incorporate some of the lace into her wedding dress (when the time comes, of course).

I don't wish to sidetrack this thread, but I recently read elsewhere that Mary used a lace fan on her wedding day. Is the fan mentioned in the information provided above this same fan? If so, did Margrethe also use it?
 
I am excited to see this gown featured as, I agree, Margrethe is one of the most underrated of the royal brides. And I do love her entire bridal look.

I guess the post answers the questions on the antique lace, as it appears that is was removed after the wedding. So I am assuming that Mary's gown featured the exact same piece of lace. The seamstresses must have to take a lot of care when assembling these wedding gowns!
 
I am glad to see that so many others, obviously, love this gown as it has always been one of my favorites despite its flaws. But no wedding dress is perfect, not even the royal gowns - I think that most of them need a refining tweek here or there ;).
 
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