Norman Hartnell

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Sir Norman Bishop Hartnell , KCVO (June 12, 1901 - June 8, 1979) is a prominent British fashion designer, famous for his work for the Royal Family women. Hartnell acquired the Royal Warrant as a Tailor for Queen Elizabeth The Queen Mother in 1940; and the Order of the Government as Tailor to Queen Elizabeth II in 1957.

Video Norman Hartnell

Early life and career

Hartnell is well known as the man who made London a decent 20th century fashion center during the interwar years. Born from a family moving in Streatham, in southwest London, his parents then became a tax collector and crown owner & amp; Stick, above Streatham Hill. Educated at Mill Hill School, Hartnell graduated from Magdalene College, Cambridge and read Modern Languages. His main interest lies in the show, and designs production for University Footlights and he is noticed by the London press as the Footlights production designer who transferred to Daly's Theater, London. He then worked unsuccessfully for two London designers, including the famous Lucile, whom he sued for damages when some of his drawings appeared without attributes in his weekly fashion column in London Sketch Daily . In 1923 he opened his own business on 10 Bruton Street, Mayfair, with financial help from his father and his first business colleague, his sister, Phyllis. Actors Doctor Who William Hartnell is his second cousin.

Maps Norman Hartnell

1923-1934

Thanks to his Cambridge connections, Hartnell gets customers from butantes and their mothers who intend to perform fashionable originality in clothing designs for a busy social life centered on the London Season. and is considered by some to be a good London alternative to the older Paris or London plot houses. The London press seized the novelty of his youth and his gender. Despite expressing the spirit of Bright Young Things and Flappers, the design overlaps a louder silhouette with a fluid romance in detail and construction. This is most evident in Hartnell's likes for evening dresses and brides, dresses for court presentations, and evening dresses for guests at a community wedding. Hartnell was successful in ensuring exposure to the growing international press and trade with people no longer satisfied with "safe" London outfits from Paris design. Hartnell became popular with the young stars of the stage and screen, and went on to dress like prominent women like Gladys Cooper, Elsie Randolph, Gertrude Lawrence (also Edward Molyneux's client), Jessie Matthews, Merle Oberon, Evelyn Laye and Anna Neagle. Even top French stars Alice Delysia and Mistinguett were impressed by the young British genius.

Worried by the lack of sales, Phyllis insisted that Norman quit his pre-occupation with the design of nightwear and he made practical everyday clothes. He achieved subtlety and ingenuity with British woollens, previously rarely imagined in a tailor of London, but was successfully demonstrated in Paris by Coco Chanel, which showed interest in the collection of 1927 and 1929 when performed in Paris. Hartnell successfully imitated his predecessor and his British hero Charles Frederick Worth by bringing his design to the heart of the fashion world. Hartnell specialized in expensive and often luxurious embroidery as an integral part of his most expensive clothes, creating luxurious and exclusive effects that justify the high price. They were also created to deflect ready-made copyists. The embroidery workroom at Hartnell's house was the largest in London couture and continued until his death, also producing embroidered Christmas cards for clients and the press during the quiet August days, a practical form of publicity where Hartnell is always proficient. The genuineness and intricacy of embroidery Hartnell is often depicted in the media, especially in reports on the original wedding dress he designed for socially prominent young women during the 1920s and 1930s, a natural extension of his design to them as dÃÆ' Â © butantes, when wearing many evening dresses and innovative day-to-day clothes.

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1934-1940

In 1934, Hartnell's success had surpassed his premise and he moved onto the road to a large mansion in Mayfair that had been furnished with workstation floors in the back to Bruton Mews. The first floor salon is the height of modernity, like its clothing and glass and mirrors lined with Art Moderne, designed by an innovative young architect Gerald Lacoste (1909-1983). The interiors of the late 18th century mansions are now protected as one of the best examples of modern pre-war art designs in England. The timeless quality of the Lacoste design is the perfect backdrop for every new season of Hartnell design, made for aristocratic British women of all ages and worn by most famous theatrical and film stars of their day, including Vivien Leigh, Gertrude Lawrence, Merle Oberon, Ann Todd, Evelyn Laye, Anna Neagle and trans-Atlantic stars such as Marlene Dietrich, Elizabeth Taylor and Linda Christian. At the same time, Hartnell moved into a new building, he obtained a weekend retreat, Lovel Dene, a Queen Anne cottage in Windsor Forest, Berkshire. It's extensively modeled for him by Lacoste. The London life based at The Tower House, Park Village's West Regent's Park, is also re-modeled and furnished with a blend of fashionable Regency and modern furnishings.

In 1935, Hartnell received an important first royal order, inaugurated four decades of worldwide fame and success in providing clothing for women from the Royal Family of England. Lady Alice Montagu-Douglas-Scott, the future of Princess Alice, Duchess of Gloucester, daughter of Duke of Buccleuch, approached Hartnell to design her dress and her bridesmaids for her marriage to Prince Henry, Duke of Gloucester, third son of King George V. Two bridesmaids are Princess Elizabeth and Princess Margaret, daughter of Duke and Duchess of York (future King George VI and Elizabeth's consort). Both George V and Queen Mary approve the design, the latter also being a client. Queen Elizabeth of the future, then Madame Handley-Seymour's client, who had made her wedding dress in 1923, accompanied her daughter to Hartnell's salon to see the gear and meet the designer for the first time.

Although Hartnell's design for the new Duchess of Gloucester wedding and his trousseau reaches worldwide publicity, the death of the bride's father and the mourning period led to the cancellation of a great State Marriage in Westminster Abbey. The substitution of a small private ceremony at the Buckingham Palace chapel prevented the theater full of royal events and Hartnell regretted that his work on design for extraordinary opportunities was denied publicity worldwide. The large crowd did see the newest members of the royal family go from Buckingham Palace with dressed Hartnell uniforms away and the seal of royal approval reflected in the business improvement for Hartnell.

For the coronation of King George VI in 1937, Queen Elizabeth's queen ordered a maid of honor from Hartnell, remaining faithful to Handley-Seymour for her coronation dress. Until 1939 Hartnell received most of the Queen's orders and after 1946, with the exception of some state clothes, he remained a Hartnell client, even after his death. Hartnell's ability to adapt the current fashion to a personal royal style begins with a slimmer fitting design for day and night wear. The new queen is short and her new outfit provides height and distinction, everyday clothes usually consist of long coats or three-quarters long on slender skirts, often decorated with feather or detail in the neck. Its designs for Queen's evening outfits vary from a sleek, no-frills dress, which in the day's fashion forms the backdrop for the worn jewelry. Some evening clothes are embroidered with sequins and glass. There was a clear style change in the design for the glorious evening event, when Hartnell reintroduced the crinoline into world fashion, after King showed the portrait of Hartnell the Winterhalter at the Royal Collection. King George suggested that the style favored earlier by Queen Victoria would increase her presence. It also came to symbolize the sustained values ​​of the established British monarchy around the world, after the Crisis of Abdikasi, when the uncaptured Edward VIII wanted to marry a two-divorced American, Wallis Simpson. After failing to get support from the British government, and that of Dominion, he went for exile and married abroad.

Mrs Simpson, who later became the Duchess of Windsor, was also a London Hartnell client, then patronizing Mainbocher who made her wedding dress. Main Bocher is a friend of Hartnell with whom is credited last with a healthy initial suggestion, when he shows a collection of summer 1929 in Paris. Then a Vogue editor, Bocher told Hartnell that he rarely saw so many beautiful dresses made so badly. Hartnell took his advice and hired "Davide" the talented Mamselle of Paris, who is supposedly the highest paid member in every London couture house, and other talented players, builders and tailors to execute their designs to the highest international couture standards of the 1930s. In 1929, Hartnell showed his clothes to the international press in Paris and the long floor of his evening gown, after a decade of increased hems, was hailed as the emergence of a new fashion, copied all over the world as evidenced by the time press. His clothes were so popular with the press that he opened a House in Paris to participate in the Parisian Collection show.

Within a decade, Hartnell again effectively changed the fashionable silhouette of fashion night, when more crinoline dress worn by the Queen during the State Visit to Paris in July 1938 also created a worldwide sensation seen in the media and news. The death of Queen Cecilia Bowes-Lyon's mother, the wife of the Earl of Strathmore, before the visit resulted in a mourning trial and a brief delay in the date of a very important visit to Ally England, with great political significance at a time when Germany threatened war in Europe. The Royal Mourning dictated the color black, and the shades of purple, meaning that all the colored outfits for the planned June Visit had to be remade and Hartnell's workspace worked long hours to create a new white cabinet, which Hartnell recalled had precedents in the United Kingdom Mourning and unknown to a younger Queen. The design featured the use of luxurious detail, such as the courtesy shown to France with a Valenciennes lace-length day gown, a trimmed daydish fittings with a white fox and a magnificent crinoline satin dress, a ruched ornament highlighted by camellias, worn for the Gala in Opera and seen to be influential on the stairs that impress Garnier. Hartnell was decorated by the French government and his friend Christian Dior, the creator of the rocky New Look, was not immune to the influence and romance of the display. He openly declared that whenever he thought of beautiful clothes, it was that created by Hartnell for the 1938 State Visit, which he saw as a young candidate in the fashion world. The fashion crinoline for evening wear is influenced by international fashion and French designers are not slow to take influence from the Scottish-born Queen and many Scottish Kilt soldiers in Paris for the State Visit; everyday clothing featuring plaids or tartans is evident in the next season's collection of many Paris designers.

The Queen ordered another wardrobe by Hartnell for the Canadian Royal Tour and a Visit to North America during May and June 1939. At a critical time in world history, the Visit cemented North American friendship in the months before the outbreak of World War II on the moon September 1939. The King and Queen were received with great praise by the crowd during the Tour and Visit and the dignity and charm of the Queen was undoubtedly aided by Hartnell's wardrobe. Hitler called Queen Elizabeth "the most dangerous woman in Europe" when she saw the movie trailers from a successful Tour. The aura of majesty wrapped by the Queen during the last two years of peace was sharply captured by Cecil Beaton's 1939 photographs at Buckingham Palace where she wore several Hartnell dresses made in 1938 and 1939. In 1940, Norman Hartnell received the Royal Order in 1940 as a Dressmaker for the Queen

In 1939, largely due to the success of Hartnell, London was known as an innovative fashion center and was often first visited by American buyers, before they traveled to Paris. Hartnell already has considerable American sales to stores and copyers, a profitable revenue source for all the designers. Some French designers, such as Anglo-Irish Edward Molyneux and Elsa Schiaparelli opened the London Houses, which have a glittering social life centered around the Court. Young British designers opened their own successful Houses, such as Victor Stiebel and Digby Morton, previously at Lachasse where Hardy Amies was a famous designer after 1935. Peter Russell also opened his own home and all attracted a smarter young lady. The older, quieter generation still degrades the older London House of Handley-Seymour, Reville, and the London-owned British concession, House of Worth and Paquin. Before Hartnell established himself, the only British designer with a worldwide reputation for originality in design and completion was Lucile, whose home in London was closed in 1924. Then as it is now, young members of the Royal Family of Britain are attracting publicity around the world. While it was a triumph for Hartnell to get an impressive figure from Queen Mary as a client wearing a sequined necklace with a design lined with extraordinary jewelry, the four young wives of her four sons created fashion news - even if Mrs Simpson was an alarming distraction. Princess Marina, is a famous character and patron of Edward Molyneux in Paris. She designed a wedding dress in 1934 and a bridesmaid dress for her marriage to the fourth son of Queen Mary, Prince George, Duke of Kent and when Molyneux opened her salon in London, also designed by Lacoste, she became a permanent client until she closed down her business in 1950. After that, he is often a Hartnell client.

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1940-1952

During the Second World War (1939-1945) Hartnell - the same as other couture designers - was subject to trade restrictions and government rationing, part of the utility scheme; Regardless of the specific rules regarding the amount of fabric allowed per clothing, the number of buttons, buttons and the amount and components of the embroidery are all calculated and controlled. She joins the Home Guard and maintains her career by sponsoring collections for sale to overseas buyers, competing with French and German Occupation designers, but also a growing group of American designers. Private clients order new clothes within limits or change existing clothing. This also applies to the Queen, who appears in her repeatedly reworked clothes in bombed areas throughout the country. Hartnell received his support to design clothing for the government Utilities campaign, mass produced by Berketex with whom he entered into a business relationship that continued into the 1950s. Through this partnership, he became the first twentieth century designer to design mass-produced ready-made clothing. In 1916, Lucile, had shown the way during the First World War by designing an extensive set of clothing for American Sears catalog retailer Roebuck.

Hartnell is co-founder of London Fashion Designer Incorporated - also known as IncSoc - founded in 1942 to promote British fashion design at home and abroad. Hartnell was also assigned to design women's uniforms for British soldiers and medical corps during the war. He will go to design a service uniform for nurses and Women's Police in London.

In 1946 Hartnell took a successful collection to South America, where his clients included Eva Peron and Magda Lupescu. In 1947 he received the Neiman Marcus Fashion Award because of his influence on the fashion world and in the same year created a vast wardrobe for use by Queen Elizabeth during the South African Kingdom Tour in 1947, the first Royal Tour abroad since 1939. Both slim or crinoline style is included. In addition Hartnell was designed for the young Princess Elizabeth and Princess Margaret; Molyneux also designed a day's outfit for the Princesses during this trip.

Although worried that at age 46 he was too old for the job, he was ordered by the Queen to create Elizabeth Princess's wedding dress in 1947 for her marriage to Prince Philip (later Duke of Edinburgh). With a fashionable cut-neckline and soft folded folding skirt was embroidered with about 10,000 pearls-seeds and thousands of white beads. She also created a go-away outfit and her wedding dress, became the main designer to be added by Hardy Amies in the early 1950s and appealed to a new generation of clients. While Princess Elizabeth began to take on more overseas assignments and assignments, her less-controlled sister, Princess Margaret, became a press obsession, her Hartnell outfits were given extraordinary media attention.

Hartnell's elegant evening outfit from this period can be seen in museum collections to this day.

1952-1979

After the initial death of George VI in 1952, Hartnell was ordered by Queen Elizabeth II to design the 1953 Coronation Dress. Many versions were sketched by Hartnell and his new assistant, Ian Thomas. This was then discussed with the Queen. By Queen's order, the final design had the same sweet neckline used for Her Majesty's wedding dress in 1947, a fuller skirt with thick, soft silk folds adorned with varied embroidery, including national botanical depictions. emblems from Britain and Commonwealth countries, echoing the previous Coronation Gown. The intricate construction of the supporting underwear and the frustrating work hours involved is explained by Hartnell in his autobiography. The weight of the dress makes it difficult to produce a perfect balance and provides a gentle rocking motion forward rather than a list of prototypes gliding. This is the work of a cutting and craftsman, because he can not sew stitches, although he understands the construction and handling of various fabrics.

In addition, Hartnell designed the attached dresses worn by Queen's Maids of Honor and all the main Royal ladies who were present, creating the necessary play-table at Westminster Abbey. She also designed dresses for many other clients attending the ceremony, and her summer collection of 1953 of about 150 designs was named The Silver and Gold Collection, later used as a title for her autobiography, illustrated largely by her assistant Ian Thomas. Thomas then opened his own position in 1968 and along with Hardy Amies created many designs including in the cupboard of the Queen. Queen Elizabeth II did a great number of State Visits and Royal Tours abroad, as well as various events at home, all requiring the volume of clothes too big for just one House to devote her time. During 1953-1954 he conducted an extensive Royal Tour in most of the countries that formed the British Commonwealth. The Coronation Dress is charged for the opening of Parliament in several countries, and its diverse outfits receive headline news and international headlines, not least for cotton dress worn and copied worldwide, many ordered from specialist wholesale company Horrockses. Hartnell's design coupled with a number of dresses from Hardy Amies, its secondary designers from 1951 onwards. Most Royal Family women use Hartnell as well as other London designers to make their clothes for use at home and abroad

Hartnell's design for wedding dress from HRH Princess Margaret in 1960 marked the last full occasion of the State in which she designed an impressive dress. It also marks the swan-couture song of fancy England. The bride wore a white princess dress in layers, completely unadorned but demanding in its construction, utilizing many fine silk layers, and requiring as much skill as the complexity of the Queen's Coronation dress, which echoes outline. The Queen wore a long blue lace dress with bolero echoing the design with a thin bolero jacket and a hat decorated with a single rose, reminiscent of Princess's full name, Margaret Rose. Victor Stiebel made a go-away outfit for Princess and the entire wedding and departure couple from the Pool of London on HMY Britannia received worldwide newspapers and television publicity.

Fashion changed rapidly in the 1960s, and at the time of Investiture of The Prince of Wales in 1969, Hartnell's outfit to Queen and Queen Elizabeth the Queen Mother was a short, simple design reflecting their own personal style. His royal outfit creates a flawless neat look that manages to be stylish without making a blatant fashion statement. This ability demonstrates his genius and is practiced perfectly, as he becomes increasingly preoccupied with the imperial command. In this he was assisted by Ian Thomas, who went to establish his own company in 1966, and the Japanese designer Yuki (Gnyuki Tormimaru), who both went to create his very successful business.

In the mid-1950s, Hartnell reached the height of his fame and the business employs about 500 people with many others in the support business. As with all the couture houses of that era, the rising costs and the change of taste in women's clothing was a sign of the tough times ahead. Throughout the 1950s and 1960s, Norman Hartnell's name was constantly found in the media. In addition to designing two collections a year and maintaining the links of movie stars and movies, he is adept in publicity, whether in creating full evening dresses from pound notes for news-paper stunts, touring fashion shows at home and abroad or using the latest fabrics and artificial materials human. The impressive evening gown was worn by concert pianist Eileen Joyce and TV cooking star Fanny Cradock and symbolized her high profile as an innovative designer, even though in her sixth decade - then considered a great age. Hartnell designed and made the collection on a smaller scale until 1979 with designs for Queen and Queen Elizabeth, the Queen Mother still ordered her time and attention. This business is struggling with the same overhead with all couture businesses and various merchandising efforts have been successful in helping to improve finances. Sales of 'In Love' scent and then other scents were reintroduced in 1954, followed by stockings, knitwear, costume jewelry and the late 1960s, men's suits. But that was not enough to change the flow of high-class youth fashion and he even had to sell his Lovel Dene draw to finance Bruton Street business. The elegant outfit of Hartnell from this period can be seen in museum collections to this day.

At the time of Queen Silver Jubilee in 1977, Hartnell was appointed KCVO and upon arrival at Buckingham Palace was delighted to discover that the Queen had sent Queen Elizabeth the Queen Mother to invest it with honor. Prudence Glynn, the astute fashion editor from London 'Times' called it The First Fashion Knight and his work as The Norman Conquest Hartnell designed and made the collection on a smaller scale until 1979 with the designs for Queen and Queen Elizabeth, the Queen Mother still ordered time and his attention. This business is struggling with the same overhead cost as all couture businesses

Hartnell was buried on June 15, 1979 in addition to his mother and sister at the tomb of Clayton church, West Sussex.

A memorial ceremony in London was led by Bishop of Southwark, Mervyn Stockwood, a friend, and was attended by many models and employees and clients, including one of the earliest of the 1920s, a lifelong supporter of Barbara Cartland, and another of the time as Deb of the Year in 1930, Margaret Whigham. Wearing a spectacular Hartnell dress, her marriage to Charles Sweeny stopped traffic at Knightsbridge. As Margaret, Duchess of Argyll, she remains a client.

After his death, Queen Elizabeth, the Queen Mother remained a firm client, as did the older clients. To continue and revive John Tullis's business, Edward Molyneux's nephew, who was designed for Home until the business was sold. A consortium led by Manny Silverman, formerly of Moss Bros., acquired the company. The guest collections are designed by Gina Fratini and Murray Arbeid and the building is completely renovated under the direction of Michael Pick who revived his original Modern art. The famous chimney forms the focal point of the Lacoste scheme that leads from the ground floor to the first floor salon with modern faceted art detail cladding mirrors and pilasters restored by V & amp; A as the focal point of the mirrored grand salon. The house reopened with a collection that was admittedly designed by former Christian Dior designer Marc Bohan. Unfortunately, the Gulf War and subsequent recession in the early 1990s killed the business and the house was closed in 1992.

On May 11, 2005, Norman Hartnell's building was celebrated with a blue plaque on 26 Bruton Street where he spent his work from 1934 to 1979.

Norman Hartnell's name was acquired by Li & amp; Fung as part of London's extensive fashion portfolio that includes Hardy Amies Ltd., was acquired in 2008 by Fung Capital. Hardy Amies is now owned by No.14 Savile Row, which is wholly owned by Fung Capital, a private investment company of the Fung family as well as the controlling shareholder of Li & amp; Fung Limited and Trinity Limited. Various Norman Hartnell themed home appliances have been produced and there are plans to develop the brand further.

Personal life

Hartnell never married, but enjoyed a wise and calm life at a time when homosexual relationships between men were illegal. In many ways, the perfect Edwardian in attitude and lifestyle, he considers himself a definite bachelor, and his close friends are hardly ever in the public eye, nor have he done anything to compromise his position and his business as a leading designer for both women from The Royal Family of England and the aristocratic clientele or 'community' on whose success. She was in a cold condition with Cecil Beaton publishing herself and the others from the flamboyant theater set. Hartnell is generally regarded as the leading British fashion designer, even by most of his INCSOC associates. He rarely socializes with them. The younger Hardy Amies, fellow designer for Queen Elizabeth II, was surprised to learn how much he enjoyed his company in Paris in 1959. They were both there during the State Visit to France to see their creations being worn. Hartnell has been known to call Amies 'Almost Observe'. At the end of the year, long after Hartnell's death and in a more liberal climate, Amies became famous for some unpleasant lib ad comments during the interview and in explaining his business success compared to Hartnell near the end of the age, he more than once called Hartnell a nag. 'or' silly old queen 'while describing herself as an' bitchy 'or' smart 'old queen. Hartnell's elegant evening outfit from this period can be seen in museum collections to this day.

Hartnell has many female friends, often drawn from more talented actresses who are seen on stage or in movies or more private circles. Claire Huth Jackson, then Claire de Loriol, designated the designer as a guardian for her son, Peter-Gabriel. Her dress is also worn by other Streatham residents of the past, former Tiller Girl Renee Probert-Price. A Hartnell evening ensemble featured a collection of vintage dresses inherited by Probert-Price's nephew after his death in 2013.

Movieography

Norman Hartnell designed costumes for the following films (incomplete list):

• That's the Law (1930)
• Aunt Sally (1933)
• Southern Assistant (1933)
• It's a Good Girl (1933)
• Give Him a Ring (1934)
• Charming Princess (1934)
• The Church Mouse (1934)
• The Return of the Bulldog Drummond (1934)
• Millions Brewster (1935)
• Company Two (1936)
• Jump for Glory (1937)
• Non-Stop New York (1937)
• Climbing High (1938)
• Sailing Together (1938)
• Design for the Spring (1938)
• Make Fashion (1938)
• She Finds The Star (1941) (dress for Sarah Churchill and Evelyn Dall)
• Ships with Wing (1942)
• The Peterville Diamond (1942)
• This Is Paris (1942)
• Demi-Paradise (1943)
• Maytime in Mayfair (1949)
• The Passionate Stranger (1957) (dress for Margaret Leighton)
• Women in Love (1958) (TV)
• Suddenly, Last Summer (1959) (costume for Katharine Hepburn)
• Do not Put It In Write (1964)
• The Beauty Jungle (1964)
• Double i Diamonds (1967) (TV episode: The Saint )

Theater design

Norman Hartnell was first designed to stage as a schoolboy before the First World War and went on to design at least twenty-four diverse production stages, following his early success in London with Revue Footlights, which brought him the first glowing press review.

References

Further reading

• BE DAZZLED! Norman Hartnell: Sixty Years of Glamor and Fashion . Michael Pick. Pointing Leaf Pressing. 2007.
• Silver and Gold . Norman Hartnell. Evans Brothers. 1955.
• Royal Courts of Fashion . Norman Hartnell. Cassell. 1971.
• Norman Hartnell 1901-1979 . Frances Kennett et al. Brighton Art Gallery and Bath Costume Museum. 1985.
• Gerald Lacoste. Michael Pick. The Journal of the Thirties Society . Number 3. 1982.
• Kingdom Tour: Souvenir Album. Caroline de Guitaut. The Royal Collection. 2009.
• "Hardy Amies". Michael Pick. ACC Publication. 2012.

External links

• Norman Hartnell's official website
• Grant, Linda (September 30, 2007). "Norman Hartnell: master of the royal cabinet". The Daily Telegraph . Archived from the original on October 31, 2014 . Retrieved October 31 2014 . < span>
• Norman Hartnell in Model Mode Directory
• Norman Hartnell - Encyclopedia Mode.
• Queen's robe - Information and wedding dress of 1947 Queen Elizabeth II
• "Fashion Drawing and Illustration in the 20th Century". Victoria & amp; Albert Museum .
• Nikkhah, Roya (October 28, 2012). "The role of the Queen as an international trend-setter is on display in Hartnell's new show and Amies couture". Telegraph . Ã,
• "Fashion Show In Cardiff Aka Berketex Fashions...". English PathÃÆ'Â © TV . 1952. Ã, - Film report from fashion show featuring Hartnell design

Source of the article : Wikipedia