Is it Worth worth?

Fashion and public image of Queens Maria Pia and Amelia of Portugal at the end of Constitutional Monarchy

Research output: Contribution to conferenceAbstract

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Abstract

Isabel Burdiel on Queen Isabel of Spain argues that post-revolutionary monarchies would have to fulfill three fundamental functions in order to survive: politically, socially and symbolically. In this sense, the symbolic image of the monarchy would be built from its public image and of the multiplicity of its materializations: the artistic representations of the monarchs, the news about royal personalities, their acts, ceremonies and rites. Thus, clothing and fashion functioned as a political instrument that imposed patterns of behavior, leading to another aspect of the monarchy-show.
In the Portuguese case, and particularly at the end of the Constitutional monarchy, when the Portuguese State was in the midst of a severe financial crisis, and even went bankrupt, Republican propaganda accused Queen Maria Pia of sumptuous expenses related to her wardrobe, being its official residence, the Ajuda Palace, compared to a gigantic closet. The Queen's spendthrift was a recurring theme in court society, disapproved by
her relatives and criticized by many of the courtiers. The Portuguese and foreign periodical press reported excessive expenses on dresses, notably with the French House Worth, founded in 1858 by Charles Frederick Worth, responsible for supplying crowned heads like the Empress Eugénie of France, but also opera and theater stars, as Nellie Melba or Sarah Bernhardt. In contrast, the image of her daughter-in-law, Queen Amelia contrasted strongly with that of her mother-in-law. Contained in expenses and discreet in public ceremonies, one does not attribute these excessive spending with wardrobe and fashion. However, the analysis of the private correspondence and diaries of people close to the Royal family shows that her public image was criticized, unlike the motherin-law, understood as a model of Queen, from the point of view of clothing. The aim of this paper is to analyze this double dichotomy and understand the extent to which clothing and fashion have contributed to a public image of the monarchy in its last years.
Original languageEnglish
Pages1
Number of pages1
Publication statusUnpublished - 2018
EventKings & Queens 7: Ruling sexualities: sexuality, gender and the crown: Royal Studies Network - Winchester University, Winchester, United Kingdom
Duration: 9 Jul 201812 Jul 2018
Conference number: 7

Conference

ConferenceKings & Queens 7: Ruling sexualities: sexuality, gender and the crown
CountryUnited Kingdom
CityWinchester
Period9/07/1812/07/18

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constitutional monarchy
Portugal
monarchy
clothing
Law
political instrument
opera
accused
propaganda
ritual
financial crisis
theater
personality
news
Spain
Constitutional Monarchy
Fashion Images
Public Image
France
Monarchy

Keywords

  • Fashion
  • Public image
  • Monarquia Constitucional Portuguesa
  • Século XIX
  • Republicanismo
  • Aristocracy
  • Rainha de Portugal
  • D. Maria PIa
  • D. Amélia de Orleães

Cite this

Urbano, P. (2018). Is it Worth worth? Fashion and public image of Queens Maria Pia and Amelia of Portugal at the end of Constitutional Monarchy. 1. Abstract from Kings & Queens 7: Ruling sexualities: sexuality, gender and the crown, Winchester, United Kingdom.
Urbano, Pedro. / Is it Worth worth? Fashion and public image of Queens Maria Pia and Amelia of Portugal at the end of Constitutional Monarchy. Abstract from Kings & Queens 7: Ruling sexualities: sexuality, gender and the crown, Winchester, United Kingdom.1 p.
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abstract = "Isabel Burdiel on Queen Isabel of Spain argues that post-revolutionary monarchies would have to fulfill three fundamental functions in order to survive: politically, socially and symbolically. In this sense, the symbolic image of the monarchy would be built from its public image and of the multiplicity of its materializations: the artistic representations of the monarchs, the news about royal personalities, their acts, ceremonies and rites. Thus, clothing and fashion functioned as a political instrument that imposed patterns of behavior, leading to another aspect of the monarchy-show.In the Portuguese case, and particularly at the end of the Constitutional monarchy, when the Portuguese State was in the midst of a severe financial crisis, and even went bankrupt, Republican propaganda accused Queen Maria Pia of sumptuous expenses related to her wardrobe, being its official residence, the Ajuda Palace, compared to a gigantic closet. The Queen's spendthrift was a recurring theme in court society, disapproved byher relatives and criticized by many of the courtiers. The Portuguese and foreign periodical press reported excessive expenses on dresses, notably with the French House Worth, founded in 1858 by Charles Frederick Worth, responsible for supplying crowned heads like the Empress Eug{\'e}nie of France, but also opera and theater stars, as Nellie Melba or Sarah Bernhardt. In contrast, the image of her daughter-in-law, Queen Amelia contrasted strongly with that of her mother-in-law. Contained in expenses and discreet in public ceremonies, one does not attribute these excessive spending with wardrobe and fashion. However, the analysis of the private correspondence and diaries of people close to the Royal family shows that her public image was criticized, unlike the motherin-law, understood as a model of Queen, from the point of view of clothing. The aim of this paper is to analyze this double dichotomy and understand the extent to which clothing and fashion have contributed to a public image of the monarchy in its last years.",
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author = "Pedro Urbano",
note = "info:eu-repo/grantAgreement/FCT/5876/147250/PT# UID/HIS/04209/2013; Kings & Queens 7: Ruling sexualities: sexuality, gender and the crown : Royal Studies Network ; Conference date: 09-07-2018 Through 12-07-2018",
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Urbano, P 2018, 'Is it Worth worth? Fashion and public image of Queens Maria Pia and Amelia of Portugal at the end of Constitutional Monarchy' Kings & Queens 7: Ruling sexualities: sexuality, gender and the crown, Winchester, United Kingdom, 9/07/18 - 12/07/18, pp. 1.

Is it Worth worth? Fashion and public image of Queens Maria Pia and Amelia of Portugal at the end of Constitutional Monarchy. / Urbano, Pedro.

2018. 1 Abstract from Kings & Queens 7: Ruling sexualities: sexuality, gender and the crown, Winchester, United Kingdom.

Research output: Contribution to conferenceAbstract

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T1 - Is it Worth worth?

T2 - Fashion and public image of Queens Maria Pia and Amelia of Portugal at the end of Constitutional Monarchy

AU - Urbano, Pedro

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PY - 2018

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N2 - Isabel Burdiel on Queen Isabel of Spain argues that post-revolutionary monarchies would have to fulfill three fundamental functions in order to survive: politically, socially and symbolically. In this sense, the symbolic image of the monarchy would be built from its public image and of the multiplicity of its materializations: the artistic representations of the monarchs, the news about royal personalities, their acts, ceremonies and rites. Thus, clothing and fashion functioned as a political instrument that imposed patterns of behavior, leading to another aspect of the monarchy-show.In the Portuguese case, and particularly at the end of the Constitutional monarchy, when the Portuguese State was in the midst of a severe financial crisis, and even went bankrupt, Republican propaganda accused Queen Maria Pia of sumptuous expenses related to her wardrobe, being its official residence, the Ajuda Palace, compared to a gigantic closet. The Queen's spendthrift was a recurring theme in court society, disapproved byher relatives and criticized by many of the courtiers. The Portuguese and foreign periodical press reported excessive expenses on dresses, notably with the French House Worth, founded in 1858 by Charles Frederick Worth, responsible for supplying crowned heads like the Empress Eugénie of France, but also opera and theater stars, as Nellie Melba or Sarah Bernhardt. In contrast, the image of her daughter-in-law, Queen Amelia contrasted strongly with that of her mother-in-law. Contained in expenses and discreet in public ceremonies, one does not attribute these excessive spending with wardrobe and fashion. However, the analysis of the private correspondence and diaries of people close to the Royal family shows that her public image was criticized, unlike the motherin-law, understood as a model of Queen, from the point of view of clothing. The aim of this paper is to analyze this double dichotomy and understand the extent to which clothing and fashion have contributed to a public image of the monarchy in its last years.

AB - Isabel Burdiel on Queen Isabel of Spain argues that post-revolutionary monarchies would have to fulfill three fundamental functions in order to survive: politically, socially and symbolically. In this sense, the symbolic image of the monarchy would be built from its public image and of the multiplicity of its materializations: the artistic representations of the monarchs, the news about royal personalities, their acts, ceremonies and rites. Thus, clothing and fashion functioned as a political instrument that imposed patterns of behavior, leading to another aspect of the monarchy-show.In the Portuguese case, and particularly at the end of the Constitutional monarchy, when the Portuguese State was in the midst of a severe financial crisis, and even went bankrupt, Republican propaganda accused Queen Maria Pia of sumptuous expenses related to her wardrobe, being its official residence, the Ajuda Palace, compared to a gigantic closet. The Queen's spendthrift was a recurring theme in court society, disapproved byher relatives and criticized by many of the courtiers. The Portuguese and foreign periodical press reported excessive expenses on dresses, notably with the French House Worth, founded in 1858 by Charles Frederick Worth, responsible for supplying crowned heads like the Empress Eugénie of France, but also opera and theater stars, as Nellie Melba or Sarah Bernhardt. In contrast, the image of her daughter-in-law, Queen Amelia contrasted strongly with that of her mother-in-law. Contained in expenses and discreet in public ceremonies, one does not attribute these excessive spending with wardrobe and fashion. However, the analysis of the private correspondence and diaries of people close to the Royal family shows that her public image was criticized, unlike the motherin-law, understood as a model of Queen, from the point of view of clothing. The aim of this paper is to analyze this double dichotomy and understand the extent to which clothing and fashion have contributed to a public image of the monarchy in its last years.

KW - Fashion

KW - Public image

KW - Monarquia Constitucional Portuguesa

KW - Século XIX

KW - Republicanismo

KW - Aristocracy

KW - Rainha de Portugal

KW - D. Maria PIa

KW - D. Amélia de Orleães

M3 - Abstract

SP - 1

ER -

Urbano P. Is it Worth worth? Fashion and public image of Queens Maria Pia and Amelia of Portugal at the end of Constitutional Monarchy. 2018. Abstract from Kings & Queens 7: Ruling sexualities: sexuality, gender and the crown, Winchester, United Kingdom.