Showing posts with label photography. Show all posts
Showing posts with label photography. Show all posts

Tuesday, 24 May 2011

Royal Ascot Morning Dress Etiquette update

“Clothes make the man. Naked people have little or no influence on society.” - Mark Twain

Traditional morning dress is obligatory for gentlemen in the Royal Enclosure but it is increasingly popular in the public enclosures too. A black morning suit is generally considered de rigueur at Royal Ascot, although a grey morning suit is perfectly acceptable. The top hat’s place in society fashion was assured when Prince Albert started wearing one in 1850. The first top hats were made with felt, most commonly being beaver fur pelt. Later, they would be made of silk. The structure underneath the felt or silk was made of a material called goss. The nineteenth century is sometimes known as the Century of the Top Hat. In the latter half of the 19th century, the top hat gradually fell out of fashion, with the middle classes adopting bowler hats and soft felt hats such as fedoras, which were more convenient for city life, as well as being suitable for mass production. In comparison, a top hat needed to be handmade by a skilled hatter, with few young people willing to take up what was obviously a dying trade.
By the end of World War I it had become a rarity in everyday life. It continued to be used for formal wear, with a morning suit in the daytime and with evening clothes (tuxedo or tailcoat) until the late 1930s. In the present day, the top hat is only worn with a morning suit for such occasions as Derby Day, Royal Ascot and weddings. You would no more expect to see a polar bear in the Royal Enclosure than a male patron without morning dress but that doesn’t mean that their attire is stale or stuffy or prevents an expression of their personality. There are all sorts of acceptable ways to personalise Royal Enclosure attire, starting with the tie.
The tie as we know it today has been around since the 1920s and, rather than keeping the neck warm, this style of neck wear was simply a fashion statement and an opportunity to display individuality.

Ties are a must for Royal Ascot, as opposed to cravats which, along with bow ties, were worn with morning dress up to about the 1920’s but are now for weddings. A tie of any colour is acceptable and this is an opportunity for the male racegoer to display his individuality and express his character. Tie pins are optional.
Once a virtually mandatory piece of men’s clothing, the waistcoat has become uncommon in contemporary dress with the exception of its partnership with the morning suit. The waistcoat is one of the few pieces of clothing whose origin historians can date precisely. King Charles II of England, Scotland and Ireland introduced the waistcoat as a part of correct dress during the Restoration of the British monarchy in the 1600s.
During the seventeenth and eighteenth centuries, men often wore incredibly elaborate and brightly-coloured, even garish, waistcoats, until fashion in the nineteenth century restricted them in formal wear. The development of the suit dictated that informal waistcoats become the same colour as the rest of a man’s outfit.

Popular opinion once claimed that a man could be identified as a “real gentleman” if he left the lowest button on his waistcoat unbuttoned. This anecdotally originated from the habits of King Edward VII whilst still Prince of Wales when his ballooning waistline caused him to leave the bottom button of his waistcoat undone. The story goes that his subjects took this as a style-indicator and started doing it themselves. Others consider the practice to derive from the habit of undoing the lower button to stop the waistcoat riding up when on horseback – possibly a more likely, if a little less interesting explanation! Again, the colour options open to the male racegoer are wide and varied. A waistcoat in silk, satin or a lightweight wool is acceptable and it is quite common for the man to echo the colours that his female partner has chosen so that as a couple, their appearance complements each other.
Cufflinks, whether they’re cuff buttons, flats, chain links, snappers, kum-aparts or one-piece links, are elegant accessories that lend a sparkle to formal wear. It is not certain when the cufflink arrived. Its first mention in writing was in 1788, but for sometime before that, buttons had ceased to be decorative and cuff-fastening slits were being cut into clothing. The ribbons or tape ties of the past were replaced with luxurious items, often made with gold or silver and set with gemstones. These were an extravagance reserved for the wealthy classes and were all hand-made.It wasn't until the mid 18th century and the invention of the steam-driven stamping machine, electro-metallurgy and the Tour a' Guilloche machine, which could mass-produce enamel cufflinks, that men’s jewellery really took off amongst a wider audience.
By the 1840s the double-cuff shirt became popular - and unlike most fashions it has remained so since. The middle classes adopted cufflinks, but unable to afford the silver or enamel versions they used replicas such as fake diamonds and gold-coloured alloys with foil backing.

Like cuff links, the handkerchief is optional with morning dress. Amazingly, perhaps, the handkerchief is only about 400 years old. Its origin is in Italy, where a Venetian lady invented it from pure flax, decorated with lace. Only a silk handkerchief is up to the mark in the Royal Enclosure, a cotton one simply won’t do. The handkerchief provides another smattering of colour in the male racegoers attire as a triangular shape, neatly folded and pressed.Lace up shoes are the only suitable style with a morning suit. Slip on shoes are not really the done thing in the Royal Enclosure.


Moss Bros are the official supplier of morning dress to Royal Ascot and provide a stylish Royal Ascot Collection morning suit available for hire: http://www.mossbros.com/

Monday, 16 May 2011

Queen Anne Rose prose competition winner announced

The 'Queen Anne' from David Austin Roses


Recently, we ran a competition with David Austin Roses to write a piece stating what Royal Ascot means to them. The winning entry was so good, we thought we’d put it on our blog. Here is the master piece from Liz Shaw:

Tradition, heritage, fashion and fun,
Top class facilities, second to none.
Great hospitality, fit for a queen,
The perfect location to see and be seen.
Thundering hooves, excitement and thrills,
Smartly dressed jockeys displaying their skills.
Pageantry, Pimms, punters and posies
Amidst David Austin’s magnificent roses!

‘Queen Anne’ by David Austin, is one of five new rose varieties, which will be officially unveiled in May at the prestigious Chelsea Flower Show in London (24th to 28th May).


The medium-sized flowers of ‘Queen Anne’ are a beautiful, pure rose pink, the outer petals slightly paler than the central ones. It will quickly form an upright but still bushy shrub rose, with very few thorns. The blooms have a most attractive, rounded Old Rose scent with hints of pear drops. The rose is ideal for rose beds, mixed borders and large decorative planters. This beautiful rose is named after the founder of Ascot Racecourse, in celebration of the tercentenary anniversary of this national institution.

Deciding upon a name for a new English Rose is something David Austin sees as an essential part of the rose breeding process. Rose lovers write to suggest many hundreds of names each year, which are considered for one of his new releases. From so many options, David Austin aims to choose a name that perfectly suits the unique character of each rose. Many of the rose names celebrate people or places that have played an important part in shaping British heritage.

David C.H. Austin says: “‘Queen Anne’ is a rose with a very classic Old Rose beauty. The flowers have something of the charming character of Bourbon and Centifolia roses, which have long been celebrated by artists. The way the flowers of a rose are held on the stem has always fascinated me – this makes a very particular and often overlooked contribution to its overall character.

Monday, 9 May 2011

See and be seen

The seventh and final part of our occasional series of retrospective photographs from the past 300 years of Ascot history looks back at the Ascot of today.

The popularity of Ascot soon meant that racegoers demanded the best views that they could afford. Three centuries ago, just as today, the most highly sought after stands have not only been those with the best view, but the places where the most fashionable people in society have gone to be seen.

For those not invited to the more exclusive stands and boxes, the Grandstands have provided the best view of the action. The original 18th and early 19th century stands were temporary structures, but through time have become larger and more sophisticated buildings including all the comforts that racegoers demanded.

In 1961, the Queen Elizabeth II Grandstand opened at a cost of £1 million, containing 280 private “dining rooms.” Ascot has genuine claims to having pioneered private corporate hospitality boxes within what was a ground breaking structure at the time. The Grandstand that you see today (pictured) was a slightly more expensive building to construct at 220 times the cost of its predecessor and it has been short-listed in the category of Sports Venue of the Year in this year’s prestigious Sport Industry Awards.

Thursday, 28 April 2011

Sophia Loren leads the field

The Italian screen legend graces Royal Ascot


Part 6 in our occasional series of retrospective photographs from the past 300 years of Ascot history looks back at Sophia Loren at Royal Ascot in the 1960s.

The Ascot Royal Enclosure has always played host to famous international figures. But whereas in the eighteenth and nineteenth centuries they were most likely to be foreign royalty and international statesmen, in modern times you are equally likely to see some of the biggest names in Hollywood, dressed and styled by some of the biggest names in couture fashion.

In 1922, the Times cor;respondent was writing that “Ascot is notoriously the best place in England to see beautiful women in beautiful clothes”, and as a stunning Sophia Loren so elegantly demonstrated in this exquisite and classic white ensemble, things have remained unchanged ever since.

Thursday, 21 April 2011

A reflection of society

Part 5 in our occasional series of retrospective photographs from the past 300 years of Ascot history looks back at a reflection of society in the 1920s at Royal Ascot.

Today all kinds of people rub shoulders at Ascot – stars of sport and entertainment, from home and abroad, racing devotees mingle and novices, aristocracy, royalty, and ordinary men and women from diverse backgrounds. But at times over the course’s 300 year history, when mixing the sexes and different classes of society was unthinkable, the social divisions between men and women, rich and poor, were made very clear at the racecourse.

When the new Iron Stand opened in 1859, it was completely barred to women; divorced men could enter but were barred from the Royal Enclosure. The fashionable London clubs such as Whites, and the “smarter” regiments provided refreshment tents - but entry was naturally by invitation only.


In the 1850s and 1860s more trains were needed for guests and staff travelling to the increasing number of house parties hosted by the great and good during Royal Ascot week. But soon the well-to-do started choosing to travel apart from the crowds in their own carriages, which also acted as private grandstands once they reached the course.

In this picture from the 1920s, the lucky few in their private carriage are even further set apart from those below them in the crowd by their very different attire.

Monday, 4 April 2011

The 'My Kingdom for a Horse' Exhibition at Royal Ascot

Internationally renowned photographer, Alistair Morrison, will be producing an exhibition of photographs to be displayed at Ascot Racecourse, commemorating its historic tercentenary landmark in 2011. The exhibition, titled ‘My Kingdom for a Horse’ aims to showcase the acclaimed photographer’s images depicting scenes around The World’s Most Famous Racecourse.From the fashion and tradition of the Royal Meeting, to the stewards, stable lads, jockeys and racing lovers, the series of photographs are a reflection of the diverse characters that have made Ascot such an institution in British culture. This definitive collection records and celebrates the heart and soul of Ascot Racecourse in its 300th year. Alistair Morrison said: “My Kingdom for a Horse has been a project of commitment and passion, working closely with Ascot Racecourse for the last three years, to create a collection of photographs which depict all facets of character and life at this famous British establishment. From the power of the horse, the splendour of the fashion and the thousands of visitors welcomed through the gates, it all makes the racecourse unique and colourful yet still manages to hold onto and complement its all important traditions. “Working from early morning to late at night the new grandstand can be quiet yet still provides me with so many memories. First to arrive are the kitchen staff with their trolleys full, then the jockeys and their horses begin to familiarise themselves with the course and soon follow the TV crews and reporters practicing their introductions. As the mass of visitors arrive, the excitement and the anticipation of a great day fills the atmosphere. The tradition, the hats, the dressing up, it all makes for a very special day out which I have enjoyed capturing in this unique project.” The exhibition can be viewed during Royal Ascot in the marquee named My Kingdom for a Horse and around the grounds throughout the year. With over 80 photographs in the Trustee's Collection at The National Portrait Gallery, London, Morrison is considered one of the foremost photographers of the last three decades, with photographs ranging from great icons of yesteryear like Sir Laurence Olivier, Sir Peter Ustinov and Sir Alec Guiness; influential politicians Baroness Thatcher, Henry Kissinger and Hillary Clinton to figures of today such as Dame Helen Mirren, Kate Winslet, Jude Law and Tom Cruise.

Share This