Latest news with #tiara
Forbes
12-08-2025
- Entertainment
- Forbes
Explore The ‘King' Of Jewellers With A Stay In An Unsung Gem
In the tiara room, the lights are dimmed because the diamonds on show are so brilliant that they need no extra illumination. In more ways than one, the Cartier show (until 16 November 2025) at the Victoria & Albert Museum (V&A) is simply dazzling. Known for its blockbuster summer exhibitions, spanning everything from Dior's exquisite fashion to the influence of supermodel Naomi Campbell, the latest must-see show at the V&A is one that shines a light on the history of the French jeweller, Cartier. The tiara room - part of the Cartier exhibition at the V&A South Kensington. (Credit: (c) Victoria and Albert Museum, London) Featuring more than 350 shimmering objects, Cartier reveals the fine jewellery house's legacy of art, design and craftsmanship since the turn of the 20th century. It was at that point that the three grandsons of founder Louis-François set out to create the first globally-recognised jewellery house, establishing branches in Paris, London and New York. With an enviable client list of royalty and aristocracy, Cartier became known as 'the Jeweller of Kings and the King of Jewellers' and later broadened its appeal thanks to the devotion of leading creatives the devotion of leading creatives from the worlds of cinema, music and fashion. Burmese jade necklace that belonged to American heiress Barbara Hutton. Cartier Paris, 1934. Jade, rubies, diamonds, platinum and gold. (Credit: Image courtesy of Cartier.) Many of the jewels on show are the result of collaborations with clients who commissioned them, such as the oversized jade bead necklace ordered by American heiress Barbara Hutton. Indeed, the design of the exhibition itself is also the result of a noted collaboration, this time with British architect and artist Asif Khan MBE, continuing a tradition of landmark partnerships, where artists have shaped Cartier's scenography. Patiala Necklace, Cartier Paris, 1928. Vincent Wulveryck, Collection Cartier. (Credit: ©Cartier) It doesn't stop there. Step outside the museum and a short walk through South Kensington will bring you to The Kensington, one of London's under-the-radar gems, which has long offered a perk to its guests via its unique relationship with the V&A. Book in for the V&A Experience and you can access tickets to the museum's latest shows found on the doorstep, even if they are sold out. The grand hotel is made up of a series of townhouses. (Credit: The Kensington) Part of the Doyle Collection of eight hotels (which also includes The Bloomsbury and The Marylebone in London plus The Westbury and The Croke Park in Dublin), a welcome here is one that oozes warm charm. It's no surprise that the founders are Irish. This may be central London, but you are made to feel like a well-known guest arriving in a family home, even if it is your first time checking in. One of The Kensington's elegant drawing rooms. (Credit: SimonBrown) Carved out of what looks like a stately, stucco-fronted mansion (in fact, the building was originally seven 19th-century townhouses), the hotel's décor is also one that oozes character. A Tiffany-blue painted Pashley bike, with flowers in its basket, outside the front door is the first nod to the hotel's irreverent playfulness. The public rooms downstairs are straight out of Downton Abbey , with their imposing fireplaces, duck-egg-blue and candy-pink paneled walls and overblown chandeliers. Antique rugs, tables laden with huge vases of flowers and opulent window dressings add to the sense that you've arrived somewhere special. Rooms have a cosy flair. (Credit: The Kensington) Each of the 116 bedrooms and 30 suites are decorated individually, so a stay here is a far step from a night in a cookie-cutter hotel chain. 'Cosy' rooms are ideal for single travelers wanting to explore the capital while staying in style, while, at the other end of the scale, the suites feel spacious and inviting. Touches of chinoiserie – such as printed wallpapers and intricate-carved furniture – add a point of interest to the Regency-period colours used as a backdrop throughout. Luxury comes in the details: emerald satin headboards, beds laid with crisp linen and soft velvet throws and Calcutta marble bathrooms with walk-in rainfall showers and plenty of Malin+Goetz toiletries. Have a cocktail in The K Bar, which is like the inside of a jewellery box. (Credit: Milo Brown) The K Bar is just the place to digest the Cartier exhibition—from seeing the Williamson Diamond brooch commissioned by Queen Elizabeth II in 1953 featuring the rare 23.6 carat pink Williamson diamond to the final room which is dedicated to tiaras dating from the 1900s to the present day. The jewel-box of a bar has a 1950s feel, with its oak-paneled walls, sapphire velvet sofas with ruby cushions and a ceiling punctuated with shimmering contemporary chandeliers. In fact, the cocktail menu 'Reflections' is even delivered in a black jewellery box, with an internal mirror that reflects the list of drinks. It's the next best thing to a Cartier shopping list. The Town House restaurant is a celebration of British classic cuisine. (Credit: Milo Brown) Next door, in the bijous dining room of The Town House, dinner is all about celebrating the classics. There's Dressed Dorset Crab or Beef Carpaccio to start; while mains include Dover Sole Meuniere, Black Cod with Miso Glaze and a mean Chicken Milanese. Not to be missed is the 'Art of the Irish Coffee' experience whereby your coffee is served tableside, sweetened and infused to your taste, flambéed, crowned with fresh cream and served in a special Waterford Lismore Irish Coffee glass. It's the perfect ending to the meal. The Art of Afternoon Tea is a highlight at the hotel and is often designed after the current V&A exhibition. (Credit: Milo Brown) The V&A Experience at The Kensington also includes an afternoon tea in the hotel's drawing room, featuring French patisserie, elegant sandwiches and traditional scones. Up next at the museum is Marie Antoinette Style (20 September 2025 – 22 March 2026), which the hotel guarantees its guests access to. It's the perfect excuse to let yourself eat cake and soak up the best of London.
Yahoo
16-07-2025
- Entertainment
- Yahoo
How Princess Kate Honored the Late Princess Diana and Queen Elizabeth II With Her Latest Look
Full-Circle Moment The silk caped gown Kate wore to the July 8 state dinner honoring Macron is the same hue as one of France's national colors. The dress was designed by Sarah Burton, the creative director at French label Givenchy, 14 years after the style visionary made Kate's 2011 wedding dress while leading British brand Alexander McQueen. Favorite Tiara The Queen Mary Lover's Knot tiara was also one of late mother-in-law Princess Diana's favorites. The diamond and pearl diadem, created in 1914 by jeweler Garrard for Queen Mary, has been Kate's pick for 10 of her 15 tiara moments over the past 14 years. Tributes to Queen Elizabeth II The late Queen Elizabeth II's Greville Diamond Chandelier Earrings framed Kate's face. She also wore the cross, star and blue sash signifying her position as a Dame Grand Cross of the Royal Victorian Order — an honor bestowed upon her by the monarch, who died in 2022 — as well as Elizabeth's Royal Family Order on a yellow ribbon pinned to her bodice. A Nod to Princess Diana Diana was the original owner of the current Princess of Wales' Nigel Milne triple-strand pearl bracelet. Honoring the King The royal wore her Royal Family Order of King Charles III for the first time, pinning the badge — featuring a miniature portrait of her father-in-law — atop a pale blue ribbon. Solve the daily Crossword
Yahoo
10-07-2025
- Entertainment
- Yahoo
Princess Anne Wears Her Go-To Festoon Tiara for the French State Banquet
It's only Tuesday, but it's already been a busy week for Princess Anne. Just yesterday, the Princess Royal traveled to Belgium, where she attended the reopening ceremony of the Menin Gate, a war memorial in Ypres. Tonight, she joined other members of the royal family at a banquet at Windsor Castle celebrating the French State Visit to the UK, which began this morning. For the occasion, Princess Anne wore the Festoon Tiara. As she arrived, she could be seen speaking with her brother, Prince Edward, and other members of the royal family. The Festoon Tiara was a gift to Anne from the World Wide Shipping Group in 1973, and according to the Royal Watcher, 'was likely created at the turn of the century and acquired by the World Wide Shipping Group ahead of being given to the Princess.' She first wore it in a series of portraits released for her 23rd birthday, and has turned to it frequently in the decades since. Anne is known to favor repeating her outfits, and that is no different when it comes to her tiaras. She often rotates between just four, including the aforementioned Festoon Tiara; the Halo Scroll Tiara, which Kate Middleton famously wore on her wedding day; the Meander Tiara, made for Prince Philip's mother; and the Aquamarine Pine-Flower Tiara, which she received as a wedding gift from the Queen Mother. In addition, Princess Anne wore the new Royal Family Order of King Charles pinned to her dress. You Might Also Like 12 Weekend Getaway Spas For Every Type of Occasion 13 Beauty Tools to Up Your At-Home Facial Game
News.com.au
09-07-2025
- Entertainment
- News.com.au
Rare Princess Kate act the world hasn't seen for 583 days
Kate, The Princess of Wales could be forgiven for being a little rusty in the tiara-wearing department. It's been a hot minute. Or more precisely, 582 days. It has been a serious stretch since the princess gave us a real showing of her tiara chops but on Tuesday night UK time proved she has lost none of her ability to make wearing a priceless, antique diamond topper look like a piece of cake. Or should that be 'gateaux' given that the princess, at the time of writing, along with about 160 guests was probably still enjoying petit fours as the French state banquet at Windsor Castle drew to a close. History books, take note: It was the first time the world had seen the princess in a tiara in years. Oh, but it has been a diamond-y drought and you have to go back to 2023 for the last time the Princess of Wales appeared at a white-tie royal do. Hours before the banquet, it had looked touch whether this moment would happen at all. Buckingham Palace only confirmed Kate's attendance a slim 90 minutes before it started and as she was probably busily working her GhD tongs. Masterfully turned out in couture, she and Prince William then left their three children with their trustiest under footman and the UberEats app open and made their way three minutes up the road to the Castle for the banquet honouring French President Emmanuel Macron. On the menu for Kate, supreme of chicken, iced parfait and the chance to sit next to Monsieur le Presidente, a man who has a certain je ne sais quoi which might be his willingness to wear a shirt unbuttoned to the navel and or all of his lovely millions. For the princess, as far as nights out go, a banquet and hours of small talk limited to the weather, the delights of cheese and whether Macron has the inside running on any new Cèline is hardly up there with a candlelit supper at Le Manoir aux Quat'Saisons. However Tuesday's tiara outing is a milestone moment as she continues the slog back to full power and normal HRH steam after a dramatic few weeks that must have done a number on courtiers' nerves. In June, the Princess of Wales dramatically pulled out of going to Ascot less than hour before she was set to arrive, causing a 'real sense of panic' inside the Palace, per the Daily Beast's Tom Sykes. 'Rumours had briefly swirled…that the future queen had been taken unwell and either needed to see a doctor or had been rushed to the hospital,' Sykes reported. Also last month the Daily Mail's Rebecca English offered new insight into the severity of things, sensationally revealing that the Princess of Wales 'is fortunate to even be speaking of recovery.' Just last week, Kate herself emotionally spoke about her struggles, even after finishing chemotherapy, and talked about 'putting on a brave face' after treatment. 'It's like 'I can crack on, get back to normal' but actually the phase afterwards is really difficult,' she said while speaking to patients and volunteers at a cancer centre. 'You're not able to function normally at home. 'You have to find your new normal and that takes time.' Luckily for all of us tiara-philes, Tuesday's 'new normal' involved a resumption of some A- grade storybook princessing but elsewhere, she and William are quietly ushering in fresh norms of their own. As the banquet got under way, the Waleses' official social media accounts released a new portrait of the couple, appearing to be taken in the garden of their Adelaide Cottage home ahead of the evening. This is the second time in a month we have seen the prince and princess do this - break the invisible boundary that has always existed between big showpiece state events and their private world, putting out a shot of them seemingly at-home and all done up before trotting along to join King Charles. There was even more 'new' yet on Tuesday with Princess of Wales too doing her bit for Anglo-French relations by wearing outfits from Christian Dior and Givenchy for the first time, a rare high farrrshon moment for the princess who tends to favour a small retinue of British labels. With her New Look-inspired Dior suit and red silk evening gown with cape, the Princess of Wales did not come here to play. (Interestingly, Dior looks that figured prominently in Meghan, The Duchess of Sussex 20- months on the palace clock and the famed couturier created a bespoke suit for Prince Harry, The Duke of Sussex to wear to his father's coronation. Likewise, Meghan wore Givenchy to tie the knot, the label at the point helped by Brit Claire Waight Keller. In 2024, Sarah Burton, who made Kate's wedding dress, was appointed to take over.) With the Windsor Castle dishwashers finally staked and the Macrons tucked up in bed, it would not be a surprise if there were sighs of well-bred relief all round. The palace is exceedingly lucky that the Princess of Wales was up to going to the state banquet after a burst blood vessel in Charles' eye made for a confronting image of His Majesty. As a palace insider told The Beast's Sykes: 'Kate has saved the day. The only thing the newspapers will be reporting on tomorrow is her presence.' Err, and websites too. What also did not go unnoticed was how giggly William and Kate had appeared earlier in the day during formal proceedings, the duo behaving like a couple of freshly besotted undergrads, not two people who have been married for 14 years and have probably long since stopped shutting the bathroom door. As the French might say, with a suitably Gallic dose of eyebrow-wriggling innuendo, oh hon hon hon!
The Guardian
24-06-2025
- General
- The Guardian
‘Excessively wasteful and giving off Swarovski vibes': our critic on the ‘tiara bridge' for the late queen
Is a £46m glass tiara the right way to remember the UK's late queen? The Elizabeth II memorial selection committee certainly think so, in their choice of a glitzy glass bridge designed by Norman Foster for her permanent memorial in St James's Park, announced on Tuesday. As architects go, the 90-year-old Foster is perhaps the closest we have to a national treasure, so he might seem like a fitting choice – an establishment figure and safe pair of hands, who knew the queen personally. It could be an apt final project for the architect lord, although he shows no signs of slowing down. His personal connection might have clinched the deal. Lord Foster of Thames Bank, who quit his seat in the House of Lords in 2010 in order to retain his non-dom tax status, says he met the queen on both formal and informal occasions, and it was this dual acquaintance that informed his design. 'She was wonderfully formal when the occasion demanded,' he recalls, 'and warmly informal when she engaged with people and individuals.' His project attempts to 'combine the formal and the informal', riffing off a similar duality found in the landscape design of St James's Park, laid out by John Nash in the 1820s. In reaching for a suitably regal metaphor to embody the late monarch, Foster landed on her wedding tiara. He has accordingly conjured an ethereal vision of a bridge with a cast glass balustrade, shimmering above the lake. This translucent glass crossing, he says, will be 'symbolic of Her Majesty as a unifying force, bringing together nations, countries, the Commonwealth, charities and the armed forces'. So far, the images give off the vibes of a temporary Swarovski-sponsored installation, and it's hard to imagine how the Royal Parks' maintenance team will keep it looking quite so sparkly. The vision recalls Foster's 'blade of light' idea for the Millennium Bridge, which ended up being a good deal more chunky (and wobbly) than the dashing sketch promised. Foster might have done well to take a closer look at the history of the tiara in question. It was originally designed in 1919 for Queen Mary, Elizabeth's grandmother, a great lover of jewels, who had the headpiece made in the fashionable Russian kokoshnik style, using diamonds from an old necklace gifted to her by her mother-in-law, Queen Victoria. It was a model of recycling, which has been passed down the generations ever since – used by the Queen Mother, Elizabeth, Princess Anne, and most recently Princess Beatrice. Not so Foster's bridge. His project, which also includes a series of gardens, will see a perfectly good crossing needlessly destroyed. The existing Blue Bridge was built in 1957, to the designs of the Ministry of Works' youngest ever chief architect, Eric Bedford, who went on to design the startlingly futuristic Post Office Tower (now BT Tower) in Fitzrovia. As it happens, Bedford also played a key role in Queen Elizabeth II's coronation, designing a series of interlocking steel arches on the Mall, topped with lions and adorned with metalwork crowns and fan motifs, that were illuminated by night. In our age of rapid global heating, when the carbon emissions of construction are closely counted by the kilo and architects strive to reuse as much existing fabric as possible, this wasteful act of demolition seems like a strange way to memorialise anyone. In selecting blocks of solid cast glass for his new bridge, Foster has chosen one of the most carbon-intensive materials available, given the furnaces must be heated to over 1,000C. Memorialising more than just the queen, this costly tiara will be an apt bookend to an age of excessive consumption.
