Five Coronation Fashion Reflections
Plus my Hello! diary and two takeaways from my trip to London.
Hello! I’m home in Los Angeles but my head is still in London, thinking about everything I did and saw. What a trip! Thank you for following along.
I have three things to share with you today, beginning with my coronation diary for Hello! It’s my moment-by-moment recap of May 6, with loads of behind-the-scenes photos, too — I hope you enjoy it. I loved being with the incredible Hello! team, it was a chance to see up close how they cover every aspect of royal news.
ICYMI: You can listen to my guest appearance on the latest episode of Hello!’s Right Royal Podcast here and watch my Hello! coronation videos here.
Below you will find my favorite fashion moments of the coronation, followed by two takeaways from my trip. Being on the ground in London for the coronation, and talking to people all over the city every day, gave me a fresh perspective on the future of the monarchy.
And stay tuned! The final episode of the So Many Thoughts Coronation Podcast is coming this weekend. It’s an audio compilation of my time in London, including my visit to Windsor, a conversation I had with a camper on the mall, and a trip to the Coronation Concert. I’ll email it out to paid subscribers — sign up below!
Five Coronation Fashion Reflections
Best hair accessory: Catherine’s silver headpiece
This was the defining sartorial touch of the entire coronation for me — really! — because it walked the finest line between sufficiently formal but not flashy.
Let’s back up: The fashion speculation ahead of the coronation was uncharacteristically all over the place. Nobody knew what to expect! We just knew it would not be long white gowns from seven decades ago at Queen Elizabeth II’s coronation. The royal family was in a difficult position, staging an elaborate crowning in the midst of a cost-of-living crisis. What’s more, the guests in Westminster Abbey were not lords and ladies of 1953 but an eclectic group ranging from foreign leaders to celebrities to charity workers.
As the crowning of King Charles III neared, the fashion debate turned to hats versus tiaras (which made sense, given that what a woman wears on her head often dictates the rest of the ensemble). Then emerged a report Catherine would wear a flower crown, which seemed like a stretch to me. In the end, the Princess of Wales’s headpiece was savvily both. It is tiara-like but without the price or provenance of a piece of jewelry. The leaf design felt felt grounded, and less romantic than flowers (she had plenty of those on her dress). To my eye, the headpiece resembled a metallic version of a Greek laurel wreath.
An added bit of thought that made it extra special: Jess Collett, who collaborated with Alexander McQueen on the piece, began her millinery business 25 years ago with a grant from The Prince’s Trust, Charles’s signature charity.
Best twinning: Charlotte and her mum
If you’ve read my book, HRH, then you know that I am fascinated by the ways in which Catherine is introducing her children to the world of royal fashion. This sartorial strategy reminds me of both Queen Elizabeth II and Diana, Princess of Wales. When the late monarch was a young princess, she was often dressed to match her younger sister, Margaret. The approach continued after their father became King George VI when Elizabeth was 10, longer than one might expect. The visual of the two princesses, one of whom was now next-in-line to the throne, gave a sense of unity to their family photos — an important stabilizing message in a time of great turmoil after the abdication of King Edward VIII.
Princess Diana used twinning a bit differently. She knew her fashion received worldwide attention and occasionally dressed to match her boys — an unexpected mother-and-son combination that delighted royal watchers. It served as a reminder of Diana’s close connection to her boys and her hands-on approach to parenting, something that was new to the royal discourse.
I’d argue that Kate and Charlotte achieved both with their twinning at the coronation. We often see the Waleses coordinating on public engagements, but this felt like was coordinating tipping on twinning. The matching headpieces and updos were a delightful surprise! And a release from the palace shared that they were both in white McQueen dresses, embroidered with the symbols of the four UK nations. I love how Charlotte’s cape echoed Catherine’s robe. It projected both an air of unity and served as a touching reminder of their close family ties.
Best dress: Camilla’s gown
I hope you’ve had a chance to read my conversation with Bruce Oldfield about designing Queen Camilla’s gown for The Cut. What an honor it was to sit down with him just 48 hours after the coronation! It was like SMT in conversation form over chicken pie at Claridge’s — a dream.
We got into all the details of how the gown came to be, including how Camilla asked him to design it and how quickly she selected the sketch. But what stood out to me most is how Oldfield thought about the role of this dress. Camilla is queen consort, after all, there to support Charles. She is not the sovereign like Elizabeth II, who needed to “fly the flag” as Oldfield said. Camilla’s gown could be a bit lighter and a bit more fun, which begs the question: How does one make a coronation gown fun?
First consider the embroidery of the flowers. Oldfield placed the stately, symbolic blooms at the bottom of the dress. On the more-visible bodice, he featured garlands of wildflowers intertwined with delicate bunting. And the dogs! Camilla’s two rescue terriers, on either side of her cypher, made headlines almost immediately (you can just make them out in the picture above). In addition to the names of her children and grandchildren, Oldfield shared that there were books embroidered, too, on the train.
When I asked whose idea all these touches were, Oldfield raised his eyebrow and said, “I didn’t suggest any of them.” In the hands of a less-skilled designer, you can see how this might all get a bit…cheesy? Oldfield handled it masterfully, tucking a lot of it along the hem — meaning it wasn’t all that visible during the service or on the balcony. Instead, it feels like a hidden delight. You can practically picture museum goers delightfully crouching and pointing as they spot these touches for years to come.
But before the gown heads on display, Oldfield hinted that we may see it again (!) so be on the look-out for a repeat at an occasion like the State Opening of Parliament. Queen Elizabeth famously re-wore her coronation gown several times, which I love. It was too good of a dress to be worn only once.
PS: Make sure to follow Oldfield on Instagram! He has shared a few glimpses into the design process.
Best suit: Harry in Dior
The way I held my breath as I waited for the first sight of Prince Harry! And the way I exhaled at his smile. That man did very, very well entering into such a charged family occasion. If he was bothered at being seated in the third row, you’d never know it. (Though my two cents is that history will forever note his designated spot, and that choice will not reflect kindly on King Charles).
Only after the service was over did I learn that the Duke of Sussex wore Dior that day. I’m told that he was asked to wear a suit, rather than a military uniform or robes, and that he chose Dior as a way to bring his mother with him. Cue my eyes welling up! The only other obvious nod to Diana in the coronation fashion was Catherine’s statement diamond and pearl earrings from her collection. They are exquisite! And worn as the princess did, with her hair up, the earrings made a real statement.
Harry’s ensemble was more subtle and, to me, more powerful. You can imagine him literally suiting up to face his family. What comfort it must have brought to wear a brand that famously dressed his mother, particularly as she was transitioning out of royal life! He knows well how his mother used fashion throughout her royal tenure, in unexpected and emotional ways, and it is thrilling to me to see him do the same. (Also, to everyone complaining he wore a storied French brand on this distinctly British occasion, a friendly reminder that Dior’s menswear artistic director is English.)
One aspect of the outfit that felt telling was his light gray tie. Many other men in attendance chose more colorful options (I noticed a lot of light blue). That meant my eye was drawn to the only brighter hues on Harry’s ensemble: His medals. Along his left breast pocket, he wore the Afghanistan Campaign medal, as well as the trio of medals he has for his grandmother’s Golden, Diamond, and Platinum Jubilees — a beautiful statement on his service to queen and country.
Best reminder of the limits of fashion: Charles’s expressions
In my preparation for this day, I thought long and hard about what everyone would wear. In the end, at least for King Charles III, I was far more focused on him than anything he had on.
I got my first glimpse of the new king in person, as he traveled in the Diamond Jubilee State Coach from Buckingham Palace to Westminster Abbey. I could see him clear as day from my spot on a crowded, rainy sidewalk. The combination of the white fur top of his robe and the overhead light inside of the carriage drew my eye immediately to his face. He seemed to glow! Charles appeared rather content, moved by it all. I was moved, too, at the sight of a king on the way to his crowning.
While watching the coronation broadcast, my eyes stayed trained on his face. To my surprise, the crown and all the accouterments faded away as I tried to get a sense of how Charles was feeling. Was he moved? Solemn? Saddened? Reflective? All of the above?
I’ve talked about this with so many people about this in the days since, as well as on Instagram and in my coronation podcast. I’ve gone through photographs searching for some sort of firm conclusion. I don’t know that I have one except to say “Yes, and.” Yes, a coronation is a sacred service between sovereign and God. Seriousness is absolutely called for. And also yes, this is a celebration of the start of a new era in royal history. My expectation of a bit more joy doesn’t feel inappropriate, either (there are brilliant photos of Elizabeth beaming on her coronation day). I saw it more in the photos I’ve seen of Charles than I did watching him on that day, particularly on the balcony. Is that a twinkle in his eye?
What I do know is that watching Charles reminded me of the limitations of fashion. Not even the most elaborate and ornate ensemble is more important than the person wearing it.
But mostly…
A week after the coronation, I’m still thinking about two things: the American presence in London and what this weekend meant for the future of the monarchy.
I am an American (obviously!) and no doubt did very American touristy things during my time in London, including visiting the exhibitions on display at Kensington and Buckingham Palaces and touring Windsor Castle. Everywhere I went, I ran into other Americans who either happened to be visiting or had planned a trip specifically for the coronation. In many ways, I expected this — I had reported on this phenomenon in a story for Town & Country beforehand (read it here). What’s more, media from the U.S. descended on London. All of our major television and several major papers, including the New York Times, covered it extensively.
Still, I was still surprised. Our collective presence reinforced the role we have in all of this. We are not beholden to the royal family — it doesn’t define us culturally nor is it fueled by our tax money — but we are a big part of the attention around the Windsors. Even though we went to great lengths to cut ties with the monarchy two and a half centuries ago, we remain fascinated.
What is behind that? I’m curious what you think! Please record your thoughts in a voice memo (beginning with your name and where you live) and email it to me at Hello@SoManyThoughts.com. (A relevant aside: In the first minute of the behind-the-scenes coronation video shared by the Prince and Princess of Wales Saturday morning, a member of the crowd squeals: “We came from America!” So they seem keen to highlight our interest, too.)
The other thing I keep coming back to is the group shot, one of many official coronation portraits by Hugo Burnand. Many viewers were fixated on Kate’s dress, but my eye zoomed out to the dozen people pictured. This array was positioned as the working members of the family (Anne’s husband is not, but still included as her spouse). From left, surrounding the king and queen, are Edward, the Duke of Kent; Richard and Birgitte, the Duke and Duchess of Gloucester; Vice Admiral Sir Timothy Laurence and Anne, the Princess Royal; William and Catherine, the Prince and Princess of Wales; Sophie, the Duchess of Edinburgh; Princess Alexandra, and Edward, the Duke of Edinburgh.
I saw something on social media — was it Twitter? I don’t remember — that pointed out only four of the 12 people were under age 70. Edward, the queen’s youngest son, is 59. His wife, Sophie, is 58. Catherine is 41, William is 40. Quite the visual to put forth of the future of the monarchy, isn’t it?
It made me think back to an interview Anne gave to Canadian Public Broadcaster CBC News just before the coronation. She was asked about her brother’s desire for a slimmed-down monarchy, which has become synonymous with modernizing the institution. Anne shot it down, saying: “Well, I think the ‘slimmed down’ was said in a day when there were a few more people around. It doesn’t sound like a good idea from where I’m standing, I would say. I’m not quite sure what else we can do.”
The group portrait shows just how slim things have gotten. What will it look like in a decade or two? What does this mean for William’s reign, or the roles his children will play in royal duties? It all felt rather old, and old-fashioned.
I would love to hear what you thought of the coronation and what it means for the future of your royal watching. Please click below to share in the comments of this newsletter.
I'm also reflecting on why this coronation didn't feel as joyful as I expected. And in the week since, I can't get over the difference between Elizabeth's and Charles's coronation portraits. There's something in their postures and the way their clothing sits that says so much. Elizabeth was leaning forward, ramrod straight posture (she's as straight as that rod she's holding!), every fold of her gown in perfect order. Charles looks a little slumped, his purple tunic looks rumpled on him, it's not clear why the crown looks tilted to one side since he's looking straight at the camera. (Side note: someone should have thought about how a tunic with trim in straight lines down the front would look when seated -- it's tough to pull that off and still look like you have excellent, kingly posture.)
Maybe for me it symbolizes how the whole thing feels tired? I've been into the royals since I was a small child (as a kid I was always asking my mom to make dresses for my Princess Diana paper dolls), and somehow I find myself less interested in the whole royal pageant since the coronation.
I think part of the reason is: Elizabeth had to rise to the occasion as a woman in a world that was built for men, and there was magic to the way she did it. Now that it's a king (with two more behind him), it feels more like how history's almost always been. Maybe I'd feel differently if Charles and his heirs were adapting more visibly and courageously to how the world has changed (as opposed to issuing statements that they're reusing thrones for sustainability, lol). I'll be curious to see how my own interest ebbs and flows as Charles's reign unfolds.
I couldn’t help but get stuck thinking about the fact that in 10+ years the only working royals would be the Duke and Duchess of Edinburgh and the Waleses? (Perhaps Anne will keep working well into her 90s..) It seems so short sighted when you think how much an impact the Sussexes would have on that portrait at the next coronation and in their contribution to the community.