‘The Court Dressmaker’ is a print publication that focuses on the life and work of Anne Wright, a Court Dressmaker who worked for leading British fashion designer Norman Hartnell during the mid 1950s. Hartnell was best known for his work for the ladies of the Royal Family, and designed lavish gowns for a range of royal clients, including Queen Elizabeth II. Although Hartnell was the face of his famous works, the unsung heroes of his elegant creations were the Dressmakers working behind-the-scenes, working hard to turn his design ideas into a reality.
Hartnell designed gowns for The Queen for royal events such as her wedding to Prince Philip and her Royal Coronation as Queen of the United Kingdom. As a Court Dressmaker, Anne would work from Hartnell’s sketches, hand-sewing embroidery and creating intricate patterns with a range of fabrics, to produce gowns fit for a royal. ‘The Court Dressmaker’ details Anne’s journey through her career, which began at the age of fourteen at Hartnell’s studio in Bruton Street.
Within my publication I have used the classic British typeface Perpetua, created by English sculptor, typeface designer, and printmaker Eric Gill in the early 1930s. Perpetua is a classic typeface that represents the best of English design. The typography and layout used for Queen Elizabeth II’s Coronation ceremony in 1953 was produced by H. P. B. Finberg using Perpetua, and the font is still used today by the Royal family, appearing on the wedding invitations of Prince William and Catherine Middleton.
The colours I have chosen to use within my book are often associated with Royalty; navy blue, cream and golden brown typographic elements combined with the inclusion of sepia photography give the book a modern take on the nostalgia of post-war Britain. My section dividers feature the use of the typeface Didot Bold, a serif font that can be found on the mastheads of magazines such as Vogue and Harper’s Bazaar. I felt Didot’s strong association with fashion made it perfect for my publication.
The use of an off-white fenner paper stock, alongside the inclusion of a brown speckled paper stock for the opening and closing pages of my book, give the publication a more hand-made feel. This links to the techniques Anne would have used within Hartnell’s studio. My book is targeted towards those with an interest in couture fashion, royalty and design history, as well as students studying textiles and fashion. Through selective design decisions, I intended to create a publication that appeared quintessentially British and communicated to the my audience effectively in relation to my chosen topic.
