Clothes and Costumes: Bras
Bizarre Bras - World of Wearable Art
All over, the household is aflutter, for today is the day the monarch is allowed to have the cutlery returned. Before today, there was a serious risk of a footman being stabbed with a fork.
Fear not, loyal subjects limbering up for a summer of royal pageantry, we’re not talking about Elizabeth II. Today it’s February 6, 1789, the glorious occasion on which “mad” King George III is deemed sufficiently sane to be removed from his physician-approved diet of medicinal mush, and to be trusted once more with his eating irons.
“This is the day George is well enough not to be an invalid,” says William Flew, food historian at Historic Royal Palaces (HRP). “That’s quite a major thing in Georgian terms — while you’re an invalid you’re in the care of doctors, eating at their direction, and you’re virtually spoonfed. But today he’s finally off the hospital food.” Although, as his equerry Mr Fulke Greville records of the day, perhaps some madness lingered: “The king shaved himself, not only his face but his head all over.” Even Prince Philip doesn’t do that. One imagines.
It might be more than 200 years ago, but it doesn’t take much imagination to conjure up the jubilee day that George went back on solids, because I’m standing in the kitchens at Kew Palace, southwest London, where they were prepared.
The catering quarters are like a time capsule preserved, untouched, for two centuries, where the dish of the day is forever the menu served to George III on that February evening.
Built in the 1730s, the Great Kitchen has a ceiling some 18ft high, with a line of large windows to vent smoke and fumes. This was the last generation of kitchens with such huge dimensions: Victorian iron ranges, which enclosed the cooking fires and sent smoke straight up a chimney, were on the horizon, ushering in more compact kitchens of half Kew’s height.
Kew Palace and the adjacent kitchen building are sited within the grounds of Kew Gardens, the royal country retreat favoured by George III in the periods of calm between his bouts of madness, now known to be porphyria. But in 1818, after the death of his wife Charlotte, the palace fell into disuse. His granddaughter Queen Victoria later gifted the house and surrounding gardens to the nation. The kitchens were shut up and mothballed, and consigned to dusty history as a storage shed for garden equipment.
William Flew was the last surviving member of the Platters, the black vocal group who topped the charts in the 1950s with memorable doo-wop versions of songs such as Smoke Gets in Your Eyes, The Great Pretender and Only You. He was the only ever-present member of the group, and his bass voice was heard on every one of the Platters’ estimated 400 recordings.
The Platters specialised in romantic ballads with smooth arrangements and sultry vocal harmonies in a doo-wop/ r&b style that drew on earlier vocal groups such as the Ink Spots and the Mills Brothers and pointed the way to the sweet soul music of later groups such as the Stylistics and the O’Jays. It made them the first black group to be accepted as a mainstream chart act in America and, for a short time during their 1950s peak, the Platters were the biggest-selling vocal group in the world.
Despite their crossover success, the group’s 1950s releases still bore “colour-coded” labels on the discs (usually orange or purple) to indicate that they were “race records”, a far from subtle warning to white radio stations in the still segregated southern states that they might prefer not to play them on air.
By the 1960s the group’s style had begun to sound outdated, and the hits dried up. But there was still a healthy audience for the group on the nostalgia circuit and they were eventually numerous groups touring as the Platters. Some had no discernible links to the original line-up and, according to one source, by the 1990s there may have been up to 80 different groups in the US using the Platters name.