You shall go to the Ball

Beaded silk satin gown by Norman Hartnell, 1953. Given by Lilli Palmer


Satin and flocked tulle gown by Vivienne Westwood. Created for Lady Bianca Job-Tyoran to wear to Queen Charlotte's Ball, 1994.


Gown by Victor Edelstein, 1986. Worn and given by Lady Heseltine.


State evening ensemble 'Elvis Dress' for Princess Diana by Catherine Walker, 1989.


‘The Carwash Dress’, Giles Deacon, 2007


Yuki Torimaru, 1976


Gareth Pugh , 2011

From debutantes and royalty to charity balls and the red carpet, Ballgowns: British glamour since 1950 charts 60 years of stylish evening wear. The exhibition highlights the styles, silhouettes and colours that have been perennial favourites for many years.

Since the mid-20th century, the occasions for wearing formal attire have evolved from the private event to the public parade. In the 1950s the London season was still organised around established events such as the Royal Academy Summer Exhibition and Queen Charlotte’s Birthday Ball.

Towards the end of the century, as these traditions became less important, events such as the charity ball provided a new arena for displaying extravagant evening wear. Today it is the red carpet and celebrity gala that showcase the gowns of glamorous women.

For the most part, ballgowns have stood apart from fashion, while occasionally reflecting current developments in the fashion world. Yet they remain objects of fascination. The luxurious fabrics, intricate work and fine finish demonstrate the skill of British designers in creating dresses that convey splendour and spectacle.

Ballgowns: British Glamour since 1950, which opened yesterday, is at the Victoria and Albert museum until 6th January 2013.

Heeere's Grace!

"Models are there to look like mannequins, not like real people. Art and illusion are supposed to be fantasy."

Miss Grace Jones (born, or created, on 19th May 1948)

Vulgarity, commonness and crass bad taste

Elizabeth Taylor and Richard Burton, photographed by Cecil Beaton at the Rothschilds' home, Chateau de Ferrières, near Paris in December 1971.

From The Guardian website:

Beaton wrote in his diary: "I have always loathed the Burtons for their vulgarity, commonness and crass bad taste, she combining the worst of US and English taste, he as butch and coarse as only a Welshman can be."

He said Taylor had craved compliments during the brief shoot. "She got none. I felt I must be professional and continued, but not without loathing at this monster... Round her neck was a velvet ribbon with the biggest diamond in the world pinned on it.

"On her fat, coarse hands more of the biggest diamonds and emeralds, her head a ridiculous mass of diamond necklaces."

Ungallantly, Beaton described Taylor's hair as "sausage curls", adding: "Alexandre, the hairdresser, had done his worst. And this was the world's biggest draw! In comparison everyone else looked ladylike."

Cecil Beaton was a bitch.

The photograph is expected to make £12,000 when it is auctioned on Tuesday 22nd May 2012 at Bloomsbury Auctions.

Thought for the Day

You cannot make a revolution with silk gloves.
Joseph Stalin

Colleen Miller disagrees...

[for BEB]

Chapeau du Jour

"Time to open up a new chapter in life, and to explore a larger centre..."

...or hat?!

Lillian Russell (4th December 1860 – 6th June 1922)

Your very own Lillian Russell dress-up doll

On the Jukebox this weekend at Dolores Delargo Towers

Almost like a religion

Joan Collins


Mary Quant


Mia Farrow


Carol Channing


Andy Warhol and others

“Girls would wait patiently for two or three hours to get a haircut. It was almost like a religion.” - Penny Vincenzi

“He was very, very interested in modernism of all sorts…he just introduced all of that into hair. And at the same time he probably freed women of that weekly ritual of having their hair backcombed and being under a dryer. It depicted a whole new look of that time.” - Nicky Clarke



“It took nine years, from 1954 to 1963, to break the mould of hairdressing that was - but I did it!”

“I regard the five-point cut as the finest cut I have ever created - the geometric design in its purest, most classical form.”

“For me the working of hair is architecture with a human element.”

“If you've got something worthwhile that you can spread internationally, my God, you don't keep it. Then it dies with you.”

Vidal Sassoon, 17th January 1928 - 9th May 2012.