Before her engagement to Prince Charles, Princess Diana’s wardrobe was largely curated by her mother, Frances Shand Kydd. This resulted in a series of rather unflattering ensembles, often featuring dowdy garden-party hats from milliner John Boyd and voluminous floral dresses by Donald Campbell. Diana’s style, at this stage, lacked the sophistication and confidence that would later define her iconic image. It was British Vogue that stepped in to transform her look.
Anna Harvey, British Vogue’s fashion editor, played a pivotal role in this transformation. In a poignant tribute published in the October 1997 issue of Vogue, Harvey recalled their first meeting in 1980. Overwhelmed by the task of styling the soon-to-be Princess of Wales, Harvey brought an array of clothing, unsure of Diana’s preferences. However, upon meeting Diana, Harvey realized the challenge wouldn’t be as daunting as she initially feared.
For an early Vogue portrait shot by Snowdon before the official engagement announcement, Harvey selected a delicate rosy silk chiffon blouse by the Emanuels. The Emanuels, whose studio was located near Vogue House, would become a sanctuary for Diana in the months following her engagement. This period marked a significant shift in Diana’s fashion choices as she navigated the immense pressure and insecurities that came with her new role.
Diana’s attempts to independently choose her own outfits often backfired. A prime example is the ill-fated royal-blue Cojana London suit and pussy-bow blouse she chose with her mother for the landmark BBC interview announcing her engagement. This outfit was widely criticized for its matronly and outdated appearance, reinforcing the existing perception of Diana as naive and childlike. The Times described her at the time as “Shy, innocent, modest, retiring, demure, and coy, the girl next door,” a description which, while intended as praise for a suitable future Princess, ultimately limited Diana’s perceived public image.
However, this initial narrative did not fully encapsulate the complexities of Diana’s persona. The seemingly shy and demure princess was astutely aware of the power of public image and media representation. This awareness was sharpened by her early experiences. She was already aware of the complexities of Charles’s affections, evidenced by the discovery of a congratulatory letter from Camilla Parker Bowles upon her return to Clarence House before the engagement announcement became public knowledge. This discovery underscores that even in these early stages, Diana was navigating a treacherous landscape, demonstrating an understanding that went beyond the naive image portrayed by the press.
Through her choices, Diana cleverly used her style to exert control over her image and narrative. Even her fashion choices reflected a quiet yet effective strategy. As designer Jasper Conran later noted, Diana’s fashion decisions were often driven by a desire to impress Prince Charles, constantly questioning whether her attire would make her appear ‘sexy’ in his eyes. This underscores a poignant reality: Diana’s journey, even in her style, reveals a woman deftly navigating a complicated personal and public life, transforming her image from a somewhat awkward beginning to a global fashion icon.
