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BEHIND THE HEDGEROW takes viewers inside the private world of aristocratic Newport, Rhode Island

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Behind The Hedgerow Teaser Trailer from Harry Cawthorn on Vimeo.




About The Movie

BEHIND THE HEDGEROW takes viewers inside the private world of aristocratic Newport, Rhode Island –– a world of privilege that began with the Gilded Age, when Vanderbilts and Astors reigned. The story is told through the focus of Eileen Gillespie Slocum, descendant of Browns (as in Brown University) and friend to all of the 20th century Newport (and New York and Philadelphia) elite. When Slocum died on July 27, 2008, at the age of 92, a storied period of American history ended, as The New York Times noted in her obituary. Slocum was the last of the Newport grand dames –– and one of the last grand dames anywhere. She left no successor. America had changed, and so had the world; a new moneyed class now ruled, though the descendants of the Gilded Age elite (many of them on-camera in this film, the first time ever) continue to live on and near Bellevue Avenue, Newport, still one of America's most exclusive addresses...
This is an exclusive, inside look at a vanishing society, placed in historical context and providing a deeper understanding of what F. Scott Fitzgerald meant when he observed: “Let me tell you about the very rich. They are different from you and me.”
Because of Eileen Slocum’s stature, her relationships with virtually everyone in the world of old money, her long life, and her intelligence and candor, BEHIND THE HEDEGEROW is uniquely positioned to entertain, inform and, in certain passages, amuse audiences.
The audience filled Providence's Veterans Memorial Auditorium on Aug. 10, 2010, at the film's world premiere, the opening-night featured presentation of the 2010 Rhode Island International Film Festival, and people were turned away Aug. 14 at the sellout Newport premiere of HEDGEROW. A month-long run at Newport's historic Jane Pickens Theater followed.
And Hedgerow has earned rave reviews from critics, including four stars from The Providence Journal. The film was featured on NPR's Morning Edition, WRNI-102. 7 FM in Providence, several times on GoLocalProv, and many other places. This link will take you to all the news and reviews.

Slocum inherited her wealth from a banker father and a mother who was descended from Nicholas Brown, whose philanthropy led officials in 1804 to change the name of the College of Rhode Island to Brown University. Slocum was opinionated. She was kind and generous to family and friends -- and could be a harsh employer. She belonged to all of the exclusive clubs. She was a friend of royalty, presidents, senators, governors, billionaires, bankers, America’s Cup sailors, writers, musicians, artists, curators, debutantes, fellow heirs and heiresses, Doris Duke, and Sunny and Claus von Bulow. She was known for her elegance, wit, teasing ways and conservative politics, especially her anti-abortion views –– and the lavish dinner parties, receptions and balls that she hosted for more than half a century at her 459 Bellevue Avenue estate, whose interiors were designed by Ogden Codman Jr., with landscaping by Frederick Law Olmstead. An invitation to an Eileen Slocum party was coveted, and could not be refused (or bought).
Director David Bettencourt and producer/writer G. Wayne Miller bring this story to the screen through the use of rare footage and still photographs from a multitude of sources, through filming of key Newport Society events during the summer of 2009 (such as Coaching Weekend) and through the on-camera interviews of people in Eileen Slocum’s set and Slocum’s family. The filmmakers utilize Slocum’s extensive personal archive of photographs, books, belongings and papers –– notably the diaries she began keeping at the age of nine as she was growing up in an eight-story mansion at the corner of New York’s 89TH Street and Fifth Avenue. She continued to write these diaries into the 1990s. They are an intimate and never-before-seen account of life behind the hedgerow.
The filmmakers enjoyed exclusive access to Slocum’s archives -- and to her Bellevue Avenue mansion, where much of the film was shot -- through an agreement they reached with Slocum’s children: Jerry Slocum, Margy Slocum Quinn and Beryl Slocum Powell. Under this same agreement, Miller and Bettencourt also enjoyed access to the archives of Slocum’s late husband, John Jermain Slocum. A diplomat, Harvard classmate and friend of David Rockefeller, and bibliophile, John Slocum gathered the world’s foremost James Joyce collection, which now resides in Yale University’s Beinecke Rare Book and Manuscript Library. A noted patron of the arts until his death in 1997, Slocum and his wife counted Henry Miller, Eudora Welty and Gertude Stein among his friends.
While Eileen Slocum is the protagonist of the story, BEHIND THE HEDGEROW has an intriguing supporting cast, including such prominent Newporters as Hugh D. Auchincloss III, known as Yusha, and Betty "Boop" Blake, a noted art collector who winters in Texas. Both Yusha and Boop were lifelong friends of Eileen. Both appear for the first time ever in a film.
The narrator of the film was Eileen Slocum herself. Through a newspaper series he wrote about Newport society, Miller, a longtime staff writer at The Providence Journal, became a confidante of Slocum. During their long relationship, he spent hours recording Slocum as she discussed her life, her world, and her beliefs. These tapes, donated to Newport’s historic Redwood Library and Athenaeum, were digitized and the sound quality was enhanced for the documentary.
The movie is completed with an original score composed and conducted by Ben Mesiti and Lonnie Montaquila, the same talented musicians of ON THE LAKE: Life and Love in a Distant Place, which premiered in February 2009, has been shown on PBS affiliates coast to coast, and was nominated for a New England Emmy. Talented editor Harry Cawthorn was also back to help make BEHIND THE HEDGEROW.

BEHIND THE HEDGEROW had its Providence, Rhode Island, premiere on August 10, 2010, at Veterans Memorial Auditorium, as the opening-night feature presentation of the Rhode Island International Film festival. The Newport premiere was August 14, 2010. Gala parties followed both screenings. PBS broadcast will follow the premieres.


Blanche Monnier. The French socialite who vanished for 25 years

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At age 25, Blanche Monnier had set her heart on marrying a lawyer who was not to her mother's liking. Her disapproving mother locked her in a tiny room, where she was kept for 25 years. On May 23, 1901, the Paris Attorney General received an anonymous letter that revealed the secret incarceration. Blanche was found in appalling conditions and rescued by police.

Her mother became ill shortly after being arrested, and died 15 days later. Her brother Marcel appeared in court, and was initially convicted, but later was acquitted on appeal; Marcel Monnier was mentally incapacitated, and although the judges criticized his choices, they found that a "duty to rescue" did not exist in the penal code at that time.


Having been released from the room, Blanche Monnier experienced continuing mental problems that soon led to her admission to a psychiatric hospital, where she died in 1913.



Incredible story of the 19th Century French socialite who vanished for 25 years... only to be discovered locked in her mother's attic because of her scandalous sex life
Blanche Monnier fell in love with a lawyer in Paris who her mother disliked
She was found after 25 years in her mother's attic, extremely malnourished
Blanche's aristocratic mother intended to keep her locked up until she abandoned her relationship - but she never did

By MAILONLINE REPORTER
PUBLISHED: 16:11 GMT, 2 November 2015 | UPDATED: 08:12 GMT, 3 November 2015
Loving the wrong man was a serious business in the past as the incredible story of a French young woman who was secretly locked up in a small room for 25 years shows.

In Paris 1876, 25-year-old Blanche Monnier was a typical socialite scrambling to find a suitor before it was too late. She fell in love with an older, broke lawyer, who her aristocratic mother disliked, and set her heart on marrying him.

Then, Blanche just vanished. Nobody in France saw her in public again. Her mother and brother mourned her, and went on with their daily lives. But behind the appearance, they were hiding a terrible secret.


Blanche Monnier was found inside a padlocked room, her bed covered in food and faeces. She was extremely malnourished, weighing just 55 pounds

On 23 May 1901, the office of the attorney general of Paris received a mysterious, unsigned letter detailing the captivity of Blanche Monnier at the hands of her mother


On 23 May 1901, the office of the attorney general of Paris received a mysterious letter. The unsigned missive read: 'Monsieur Attorney General: I have the honor to inform you of an exceptionally serious occurrence. I speak of a spinster who is locked up in Madame Monnier's house, half starved, and living on a putrid litter for the past twenty-five years – in a word, in her own filth'.

Shocked by the letter, police decided to investigate the estate despite Monnier's family sterling reputation. A group of officers broke into the house, searched the premises and upstairs noticed a padlocked door. When they removed the lock, a horrifying smell filled their noses.

To their surprise, an extremely malnourished woman cowering on the bed, covered in food and feces, was squinting through the light she had not seen in 25 years. Blanche Monnier, now weighing just 55 pounds had been kept prisoner for a quarter of a century. She had not seen the light or another human being during that time.


Madame Monnier died in prison 15 days later, after confessing to locking her beautiful daughter in the attic


A witness described the gruesome discovery: 'The unfortunate woman was lying completely naked on a rotten straw mattress. All around her was formed a sort of crust made from excrement, fragments of meat, vegetables, fish, and rotten bread.'

'We also saw oyster shells and bugs running across Mademoiselle Monnier's bed,' he went on. 'The air was so unbreathable, the odor given off by the room was so rank, that it was impossible for us to stay any longer to proceed with our investigation.'

Madame Monnier, who had won an award from the Committee of Good Works for her generous contributions to the city, was immediately arrested.

She died in prison 15 days later, after confessing the abysmal abduction to police. When her daughter refused to back down on her relationship with the lawyer, Madame Monnier locked her up in a tiny room until she gave in.

For 25 years, Blanche only ate scraps from her mother's meals. Her punishment continued even after the death of her lover in 1885.

Blanche's brother Marcel stood trial for helping her mother in the ordeal and was initially sentenced to 15 months in prison. He was later acquitted on claims that Blanche could have left at any time, but chose not to. He walked free to the horror of the crowd in the courtroom.

Blanche Monnier, also known in France as La Séquestrée de Poitiers, died in 1913 in a sanitarium in Bois.


SUNDAY IMAGES /Encore More Tweed - Encore More Tweed - Encore More Tweed ...

Haemophilia in European royalty / VIDEO below: Haemophilia and Porphyria - Royal diseases from Tainted Blood

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Haemophilia in European royalty

Haemophilia figured prominently in the history of European royalty in the 19th and 20th centuries. Britain's Queen Victoria, through two of her five daughters (Princess Alice and Princess Beatrice), passed the mutation to various royal houses across the continent, including the royal families of Spain, Germany and Russia. Victoria's son Prince Leopold, Duke of Albany suffered from the disease. For this reason, haemophilia was once popularly called "the royal disease". Tests of the remains of the Romanov imperial family show that the specific form of haemophilia passed down by Queen Victoria was probably the relatively rare Haemophilia B.

The sex-linked X chromosome disorder manifests almost entirely in males, although the gene for the disorder is located on the X chromosome and may be inherited from the mother for male children or from either mother or father for female children. Expression of the disorder is much more common in males than in females. This is because, although the trait is recessive, males only inherit one X chromosome, from their mothers. Thus if the haemophilia gene is transmitted on it, there is no possibility for the male to inherit a haemophilia-free gene from his father to mask or dilute the symptoms. By contrast, a female who inherits a gene for haemophilia on one of her X chromosomes will also have inherited a second X chromosome from the other parent which is likely to carry a haemophilia-free gene that would prevent full expression of symptoms.

Females who inherit the gene for Haemophilia A or B from both parents would be expected to manifest full symptoms, similar to those seen in affected males, but this is extremely rare. Despite frequent inter-marriage among royalty, no case of such double inheritance is known among Queen Victoria's descendants. This is largely because only one of the individuals with Hemophaelia had any children.

Although an individual's haemophilia can usually be traced in the ancestry, in about 30% of cases there is no family history of the disorder and the condition is speculated to be the result of spontaneous mutation in an ancestor.

Victoria appears to have been a spontaneous or de novo mutation and is usually considered the source of the disease in modern cases of haemophilia among royalty. Queen Victoria's father, Prince Edward, Duke of Kent, was not a haemophiliac, and the probability of her mother having had a lover who suffered from haemophilia is minuscule given the low life expectancy of 19th-century haemophiliacs. Her mother, Victoria, Duchess of Kent, was not known to have a family history of the disease, although it is possible that the mutation began at her conception and was passed down only to Victoria and not to her two other children. In the same way, had Queen Victoria herself only had seven children, the mutation would probably be assumed today to have occurred at the conception of Princess Alice, as she was the only known carrier among Victoria and Albert's first seven children.

Queen Victoria's eldest daughter, Victoria, Princess Royal, apparently escaped the haemophilia gene as it did not appear in any of her matrilineal descendants. Victoria's fifth child, Helena, may or may not have been a carrier; two healthy sons survived to adulthood but two other sons died in infancy and her two daughters did not have issue. Victoria's sixth child, Louise, died without issue. Her sons Edward, Alfred, and Arthur were not haemophiliacs. However, her daughters Alice and Beatrice were confirmed carriers of the gene, and Victoria's son Leopold was a sufferer of haemophilia, making his daughter Princess Alice, Countess of Athlone a carrier as well.


Princess Alice
Alice (1843-1878), Victoria's third child, and wife of the future Grand Duke Louis IV of Hesse and by Rhine (1837-1892), passed it on to at least three of her children: Irene, Friedrich, and Alix.

Princess Victoria of Hesse and by Rhine (1863-1950), later Marchioness of Milford Haven, wife of Prince Louis of Battenberg (1854-1921) and maternal grandmother to Prince Philip, Duke of Edinburgh, apparently was not a carrier.
Princess Elizabeth of Hesse and by Rhine (1864-1918), later Grand Duchess Elizabeth Feodorovna of Russia through her marriage to Grand Duke Sergei Alexandrovich (1857-1905), may or may not have been a carrier. Following her husband's assassination, she became a nun and was childless when killed by the Bolsheviks in 1918.
Princess Irene of Hesse and by Rhine (1866-1953), later Princess Heinrich of Prussia, through her marriage to Prince Heinrich of Prussia (1862-1929), passed it on to two of her three sons:
Prince Waldemar of Prussia (1889-1945). Survived to age 56; had no issue.
Prince Heinrich of Prussia (1900-1904). Died at age 4.
Prince Friedrich of Hesse and by Rhine (1870-1873). Died before his third birthday of bleeding on the brain resulting from a fall from a third-story window (which would almost certainly have been fatal even if he had not had haemophilia).
Princess Alix of Hesse and by Rhine (1872-1918), later Empress Alexandra Feodorovna of Russia through her marriage to Tsar Nicholas II (1868-1918). Alix had a marriage proposal from her first cousin, Prince Albert Victor (1864-1892), eldest son of the then Prince of Wales (later King Edward VII); had she accepted, haemophilia could have returned to the direct line of succession in Britain.
Grand Duchess Maria (1899-1918), Nicholas and Alexandra's third daughter, was thought by some to have been a symptomatic carrier because she haemorrhaged during a tonsillectomy. DNA testing of the Romanov family remains in 2009 showed that one of the four daughters, thought to be Maria by American researchers and Anastasia by Russian researchers, was a carrier.
Tsarevitch Alexei (1904-1918) was murdered with his family by the Bolsheviks at the age of 13. Alexei's haemophilia was one of the factors contributing to the collapse of Imperial Russia during the Russian Revolution of 1917.
Princess Marie of Hesse and by Rhine (1874-1878), Alice's seventh and last child, may or may not have been a carrier. She died of diphtheria at the age of four.

Prince Leopold
Leopold (1853-1884), Victoria's eighth child, was the first member of the family to manifest haemophilia; he died at age 30 from bleeding after a minor fall, only two years after marrying Princess Helena of Waldeck and Pyrmont. (1861-1922)

He passed the gene on to his only daughter, as all of the daughters of a haemophiliac father would inherit the gene:

Princess Alice of Albany (1883-1981), later Countess of Athlone, who in turn passed it on to her elder son:
Prince Rupert of Teck (1907-1928), who died at age 20, bleeding to death after a car accident.
Alice's younger son Prince Maurice of Teck died in infancy, so it is not known if he was a sufferer. Her daughter Lady May Abel Smith (1906-1994), Leopold's granddaughter, has living descendants none of whom has been known to have or to transmit haemophilia.

Leopold's posthumous son, Charles Edward (1884-1954), was unaffected, as fathers cannot pass the gene to a son.


Princess Beatrice (1857-1944), Victoria's ninth and last child, and wife of Prince Henry of Battenberg (1858-1896) passed it on to at least two, if not three, of her four children:
Princess Victoria Eugenie of Battenberg (1887-1969), later Queen Victoria Eugenia of Spain through her marriage to King Alfonso XIII (1886-1940), who passed it on to
Infante Alfonso of Spain, Prince of Asturias (1907-1938). Died at age 31, bleeding to death after a car accident.
Infante Gonzalo (1914-1934). Died at age 19, bleeding to death after a car accident.
Victoria Eugenie's two daughters, Infantas Beatriz (1909-2002) and Maria Cristina of Spain (1911-1996), both have living descendants none of whom has been known to have or to transmit haemophilia.
Prince Leopold of Battenberg (1889-1922), later, Lord Leopold Mountbatten. Died at age 32 during a knee operation.
Prince Maurice of Battenberg (1891-1914). Killed in action in World War I at the age of 23. Maurice's haemophilia is disputed by various sources: It seems unlikely that a known haemophiliac would be allowed to serve in combat.

Today
No living member of the present or past reigning dynasties of Europe is known to have symptoms of haemophilia or is believed to carry the gene for it. The last descendant of Victoria known to suffer from the disease was Infante Don Gonzalo, born in 1914, although dozens of descendants of Queen Victoria's (including males descended only through females) have been born since 1914. However, because the haemophilia gene usually remains hidden in females who only inherit the gene from one parent, and female descendants of Victoria have left many descendants in royal and noble families, there remains a small chance that the disease could appear again, especially among the female-line Spanish descendants of Princess Beatrice.

Infanta Beatríz's two sons were not affected by the disease. Beatriz's eldest daughter, Sandra, has two children, a son and daughter. Her son is not affected, and her daughter has two sons, who are apparently unaffected. Beatríz's youngest daughter, Olimpia, had six children; her two eldest daughters, Beatrice and Sibilla are both married with children, none of whom, in the case of their sons, appear to be haemophiliacs. If Sibilla's descendants were to express or transmit the gene, however, another reigning dynasty of Europe would, in the 21st century, join the rest of the reigning families that inherited the disease from Queen Victoria. Olimpia's youngest daughters are still unmarried, but there is still a chance they could be carriers. Another daughter, Laura, died as a child, as did her only son, Paul, the latter of whom was apparently not a haemophiliac.[citation needed]
Infanta Maria Cristina had four daughters, all potential carriers. Her eldest daughter, Vittoria Eugenie, had a daughter and three sons, the latter all apparently unaffected. The Infanta's second daughter, Giovanna, had only one child, an unaffected son. Her two youngest daughters, Donna Maria Teresa and Donna Anna Sandra, also have only daughters. Of these, only one, Maria Teresa's second daughter, Isabel, is married, but she also has only a daughter. There is a chance the disease may remain in this branch of Princess Beatrice's descendants.

Chronological order
Queen Victoria died in 1901 so she lived to see her youngest son and a grandson die from the disease. A great-grandson was diagnosed with the disease as well. The gene can be passed down the female line without a haemophiliac son being born, but as the family line continues and no haemophiliac sons are born, it becomes less likely that a certain ancestor had the gene and passed it on through the female line.

Men who died of Haemophilia in Order of Death
# Name Death Relation to Queen Victoria
1 Prince Friedrich of Hesse and by Rhine 29-May-1873 grandson
2 The Prince Leopold, Duke of Albany 28-Mar-1884 son
3 Prince Heinrich Friedrich of Prussia 26-Feb-1904 great grandson
4 Lord Leopold Mountbatten 23-Apr-1922 grandson
5 Prince Rupert of Teck 15-Apr-1928 great grandson
6 Infante Gonzalo of Spain 13-Aug-1934 great grandson
7 Alfonso, Prince of Asturias 6-Sep-1938 great grandson
8 Prince Waldemar of Prussia 2-May-1945 great grandson

Type of haemophilia discovered

Because the last known descendant of Queen Victoria with haemophilia died in the 1940s, the exact type of haemophilia found in this family remained unknown until 2009. Using genetic analysis of the remains of the assassinated Romanov dynasty, and specifically Tsarevich Alexei, Rogaev et al. were able to determine that the "Royal Disease" is actually haemophilia B. Specifically, they found a single-nucleotide change in the gene for clotting Factor IX that causes incorrect RNA splicing and produces a truncated, nonfunctional protein.





The last known photo of Alexei and sister Olga aboard the steamship Rus that took them to Yekaterinburg in May 1918.

Alexei Nikolaevich (12 August 1904 [O.S. 30 July] – 17 July 1918) of the House of Romanov, was the Tsarevich[note 1] and heir apparent to the throne of the Russian Empire. He was the youngest child and only son of Emperor Nicholas II and Empress Alexandra Feodorovna. He was born with hemophilia; his mother's reliance on the faith healer Grigori Rasputin to treat the disease helped bring about the end of the Romanov dynasty. After the February Revolution of 1917, he and his family were sent into internal exile in Tobolsk, Siberia. He was murdered alongside his parents, four sisters, and three retainers during the Russian Civil War by order of the Bolshevik government, though rumors that he had survived persisted until the 2007 discovery of his and one of his sisters' remains. The family was formally interred on 17 July 1998—the eightieth anniversary of the murder—and were canonized as passion bearers by the Russian Orthodox Church in 2000.

Alexei was born on 12 August [O.S. 30 July] 1904 in Peterhof Palace, St. Petersburg Governorate, Russian Empire. He was the youngest of five children and the only son born to Emperor Nicholas II and Empress Alexandra Feodorovna. His older sisters were the Grand Duchesses Olga, Tatiana, Maria and Anastasia. He was doted on by his parents and sisters and known as "Baby" in the family. He was later also affectionately referred to as Alyosha .

Alexei was christened on 3 September 1904 in the chapel in Peterhof Palace. His principal godparents were his paternal grandmother and his great-uncle, Grand Duke Alexei Alexandrovich. His other godparents included his oldest sister, Olga; his great-grandfather King Christian IX of Denmark; King Edward VII of the United Kingdom, the Prince of Wales and William II, German Emperor. As Russia was at war with Japan, all the soldiers and officers of the Russian Army and Navy were named honorary godfathers.

The christening marked the first time some of the younger members of the Imperial Family, including some of the younger sons of Grand Duke Konstantin Konstantinovich, as well as the Grand Duchesses Olga and Tatiana, and their cousin Princess Irina Alexandrovna, were present at an official ceremony. For the occasion, the boys wore miniature military uniforms, and the girls wore a smaller version of the court dress and little kokoshniks. The sermon was delivered by John of Kronstadt, and the baby was carried to the font by the elderly Mistress of the Robes, Princess Maria Mikhailovna Galitzine. As a precaution, she had rubber soles put to her shoes to avoid falling and dropping him. Countess Sophie Buxhoeveden recalled:

The baby lay on a pillow of cloth of gold, slung to the Princess's shoulders by a broad gold band. He was covered with the heavy cloth-of-gold mantle, lined with ermine, worn by the heir to the crown. The mantle was supported on one side by Prince Alexander Sergeiovich Dolgorouky, the Grand Marshal of the Court, and on the other by Count [Paul] Benckendorff, as decreed by custom and wise precaution. The baby wept loudly, as might any ordinary baby, when old Father Yanishev dipped him in the font. His four small sisters, in short Court dresses, gazed open-eyed at the ceremony, Olga Nicholaevna, then nine years old, being in the important position of one of the godmothers. According to Russian custom, the Emperor and Empress were not present at the baptism, but directly after the ceremony the Emperor went to the church. Both he and the Empress always confessed to feeling very nervous on these occasions, for fear that the Princess might slip, or that Father Yanishev, who was very old, might drop the baby in the font.





Hemophilia

The former palace of Russian emperors in the Polish Białowieża Forest, where Alexei had a particularly grave crisis, early October 1912.

Alexei inherited hemophilia from his mother Alexandra, a condition that could be traced back to her maternal grandmother Queen Victoria. In 2009 genetic analysis determined specifically that he suffered from hemophilia B. He had to be careful not to injure himself because he lacked factor IX, one of the proteins necessary for blood-clotting. According to his French tutor, Pierre Gilliard, the nature of his illness was kept a state secret. His hemophilia was so severe that trivial injuries such as a bruise, a nosebleed or a cut were potentially life-threatening. Two navy sailors were assigned to him to monitor and supervise him to prevent injuries, which were still unavoidable. They also carried him around when he was unable to walk. As well as being a source of constant torment to his parents, the recurring episodes of illness and long recoveries interfered greatly with Alexei's education.

In September 1912 the Romanovs were visiting their hunting retreat in the Białowieża Forest; on 5 September the careless Tsesarevich jumped into a rowboat and hit one of the oarlocks. A large bruise appeared within minutes. Within a week the hematoma reduced in size.[8] In mid September the family moved to Spała (then in Russian Poland). On 2 October, after a drive in the woods, the "juddering of the carriage had caused still healing hematoma in his upper thigh to rupture and start bleeding again. Alexei had to be carried out in an almost unconscious state. His temperature rose and his heartbeat dropped, caused by a swelling in the left groin; Alexandra barely left his bedside. A constant record was kept of the boy's temperature. On 10 October, a medical bulletin appeared in the newspapers, and Alexei received the last sacrament. His condition improved at once, according the Tsar. According to Nelipa Robert K. Massie was correct to recommend that psychological factors do play a part. The positive trend continued throughout the next day.(It is not exactly clear on which day, either 9,[13] 10 or 11 October the Tsarina turned to her lady-in-waiting and best friend, Anna Vyrubova, to secure the help of the peasant healer, who at that time was out of favor; data are missing.) According to his daughter Rasputin received the telegram on 12 October[note 2] and the next day he responded, with a short telegram, including the prophecy: "The little one will not die. Do not allow the doctors [c.q. Eugene Botkin and Vladimir Derevenko] to bother him too much." On 19 October his condition was considerably better and the hematoma disappeared, but Alexei had to undergo orthopedic therapy to straighten his left leg.

According to Gilliard,

The Tsar had resisted the influence of Rasputin for a long time. At the beginning he had tolerated him because he dare not weaken the Tsarina's faith in him – a faith which kept her alive. He did not like to send him away for, if Alexei Nicolaievich had died, in the eyes of the mother he would have been the murderer of his own son.

There are various explanations for Rasputin's ability, such as that Rasputin hypnotized Alexei, administered herbs to him, or that his advice to the Tsarina not to let the doctors bother Alexei too much aided the boy's healing. Others speculated that, with the information he got from his confidante at the court, lady-in-waiting Anna Vyrubova, Rasputin timed his interventions for when Alexei was on the road to recovery anyway, and claimed all the credit. Court physician Botkin believed that Rasputin was a charlatan and his apparent healing powers arose from his use of hypnosis, but Rasputin was not interested in this practice before 1913 and his teacher Gerasim Papandato was expelled from St. Petersburg. Felix Yusupov, one of Rasputin's enemies, suggested that he secretly drugged Alexei with Tibetan herbs which he got from quack doctor Peter Badmayev, but these drugs were politely rejected by the court.For Maria Rasputin, it was magnetism.[26] For Greg King, these explanations fail to take into account those times when Rasputin healed the boy, despite being 2600 km (1650 miles) away. For Fuhrmann, these ideas on hypnosis and drugs flourished because the Imperial Family lived such isolated lives. (They lived almost as much apart from Russian society as if they were settlers in Canada. For Moynahan, "There is no evidence that Rasputin ever summoned up spirits, or felt the need to; he won his admirers through force of personality, not by tricks."[29] For Shelley, the secret of his power lay in the sense of calm, gentle strength, and shining warmth of conviction. Radzinsky believed he truly possessed a supernatural healing ability or that his prayers to God saved the boy.

Gilliard, the French historian Hélène Carrère d'Encausse and Diarmuid Jeffreys, a journalist, speculated Rasputin's healing practice included halting the administration of aspirin, a pain-relieving analgesic available since 1899. Aspirin is an antiaggregant and has blood-thinning properties; it prevents clotting, and promotes bleeding which could have caused the hemarthrosis. The "wonder drug" would have worsened Alexei's joints' swelling and pain.

Alexei and his sisters were taught to view Rasputin as "Our Friend" and to exchange confidences with him. Alexei was well aware that he might not live to adulthood. When he was ten, his older sister Olga found him lying on his back looking at the clouds and asked him what he was doing. "I like to think and wonder," Alexei replied. Olga asked him what he liked to think about. "Oh, so many things," the boy responded. "I enjoy the sun and the beauty of summer as long as I can. Who knows whether one of these days I shall not be prevented from doing it?"

Childhood

Alexei in uniform of the Jaeger regiment of the Imperial family
According to his French tutor, Pierre Gilliard, Alexei was a simple, affectionate child, but his environment was spoiling him by the "servile flattery" of the servants and "silly adulations" of the people around him. Once, a deputation of peasants came to bring presents to Alexei. His personal attendant the sailor Derevenko, required they kneel before Alexei. Gilliard remarked that the Tsarevich was "embarrassed and blushed violently", and when asked if he liked seeing people on their knees before him, he said, "Oh no, but Derevenko says it must be so!" When Gilliard encouraged Alexei to "stop Derevenko insisting on it", he replied that he "dare not". When Gilliard took the matter up with Derevenko, he said that Alexei was "delighted to be freed from this irksome formality".

"Alexei was the center of this united family, the focus of all its hopes and affections," wrote Gilliard. "His sisters worshipped him. He was his parents' pride and joy. When he was well, the palace was transformed. Everyone and everything in it seemed bathed in sunshine." He bore a striking resemblance to his mother, and was tall for his age, with "a long, finely chiseled face, delicate features, auburn hair with a coppery glint, and large grey-blue eyes like his mother," Though intelligent and affectionate, his education was frequently interrupted by bouts of haemophilia and he was spoiled because his parents couldn't bear to discipline him. His parents appointed two sailors from the Imperial Navy: Petty Officer Andrei Derevenko and his assistant Seaman Clementy Nagorny, to serve as nannies and to follow him about so he would not hurt himself. He was prohibited from riding a bicycle or playing too roughly, but was naturally active.

As a small child, he occasionally played pranks on guests. One example occurred at a formal dinner party, where Alexei removed the shoe of a female guest from under the table, and showed it to his father. Nicholas sternly told the boy to return the "trophy", which Alexei did after placing a large ripe strawberry into the toe of the shoe.

Gilliard eventually convinced Alexei's parents that granting the boy greater autonomy would help him develop better self-control. A growing Alexei took advantage of his unaccustomed freedom, and began to outgrow some of his earlier foibles. Courtiers reported that his illness made him sensitive to the hurts of others. During World War I, he lived with his father at army headquarters in Mogilev for long stretches of time and observed military life.[45] Alexei became one of the first Boy Scouts in Russia.

In December 1916, Major-General Sir John Hanbury-Williams, head of the British military at Stavka, received word of the death of his son in action with the British Expeditionary Force in France. Tsar Nicholas sent twelve-year-old Alexei to sit with the grieving father. "Papa told me to come sit with you as he thought you might feel lonely tonight," Alexei told the general.[50] Alexei, like all the Romanov men, grew up wearing sailor uniforms and playing at war from the time he was a toddler. His father began to prepare him for his future role as Tsar by inviting Alexei to sit in on long meetings with government ministers.

The Tsar's Colonel Mordinov remembered Alexei:

“ He had what we Russians usually call "a golden heart." He easily felt an attachment to people, he liked them and tried to do his best to help them, especially when it seemed to him that someone was unjustly hurt. His love, like that of his parents, was based mainly on pity. Tsarevich Alexei Nikolaevich was an awfully lazy, but very capable boy (I think, he was lazy precisely because he was capable), he easily grasped everything, he was thoughtful and keen beyond his years ... Despite his good nature and compassion, he undoubtedly promised to possess a firm and independent character in the future. ”

Stavka[
During World War I, Alexei joined his father at Stavka, when his father became the Commander-in-Chief of the Russian Army. Alexei seemed to like military life very much and became very playful and energetic. In one of his father's notes to his mother, he said "…Have come in from the garden with wet sleeves and boots as Alexei sprayed us at the fountain. It is his favorite game…peals of laughter ring out. I keep an eye, in order to see that things do not go too far." Alexei even ate the soldiers' black bread and even refused when he was offered a meal that he would eat in his palace, saying "It's not what soldiers eat". In December 1915 Rasputin was invited to see Alexei when the 11-year-old boy was accidentally thrown against the window of a train, and his nose began to bleed.

In 1916, he was given the title of Lance Corporal, which he was very proud of. Alexei's favorites were the foreigners of Belgium, Britain, France, Japan, Italy, and Serbia, and in favor, adopted him as their mascot. Hanbury-Williams, whom Alexei liked, wrote " As time went on and his shyness wore off he treated us like old friends and… had always some bit fun with us. With me it was to make sure that each button on my coat was properly fastened, a habit which naturally made me take great care to have one or two unbuttoned, in which case he used to at once to stop and tell me that I was 'untidy again,' give a sigh at my lack of attention to these details and stop and carefully button me up again.”

Imprisonment of the Imperial family

Nicholas and Alexei cut wood in captivity at Tobolsk during the winter of 1917
The imperial family was arrested following the February Revolution of 1917, which resulted in the abdication of Nicholas II. When he was in captivity at Tobolsk, Alexei complained in his diary about how bored he was and begged God to have mercy upon him. He was permitted to play occasionally with Kolya, the son of one of his doctors, and with a kitchen boy named Leonid Sednev. As he became older, Alexei seemed to tempt fate and injure himself on purpose. While in Siberia, he rode a sled down the stairs of the prison house and injured himself in the groin. The hemorrhage was very bad, and he was so ill that he could not be moved immediately when the Bolsheviks moved his parents and older sister Maria to Yekaterinburg in April 1918. Alexei and his three other sisters joined the rest of the family weeks later. He was confined to a wheelchair for the remaining weeks of his life.

Death
The Tsarevich was less than a month shy of his fourteenth birthday when he was murdered on 17 July 1918 in the cellar room of the Ipatiev House in Yekaterinburg. The assassination was carried out by forces of the Bolshevik secret police under Yakov Yurovsky. According to one account of the murder, the family was told to get up and get dressed in the middle of the night because they were going to be moved. Nicholas II carried Alexei to the cellar room. His mother asked for chairs to be brought so that she and Alexei could sit down. When the family and their servants were settled, Yurovsky announced that they were to be executed. The firing squad first killed Nicholas, the Tsarina, and the two male servants. Alexei remained sitting in the chair, "terrified," before the assassins turned on him and shot at him repeatedly. The boy remained alive and the killers tried to stab him multiple times with bayonets. "Nothing seemed to work," wrote Yurovsky later. "Though injured, he continued to live." Unbeknownst to the killing squad, the Tsarevich's torso was protected by a shirt wrapped in precious gems that he wore beneath his tunic. Finally Yurovsky fired two shots into the boy's head, and he fell silent.[53] Rumors of Alexei's survival began to circulate when the bodies of his family and the royal servants were located. Alexei's was missing, along with that of one of his sisters (generally thought to be Maria or Anastasia). As a result of this, there have been people who have pretended to be the Tsarevich; these people are Alexei Poutziato, Joseph Veres, Heino Tammet, Michael Goleniewski and Vassili Filatov. However, scientists considered it extremely unlikely that he escaped death, due to his lifelong hemophilia. The missing bodies were said to have been cremated, though scientists believe it would have been impossible to completely cremate the bodies given the short amount of time and the materials the killing squad had to work with. Numerous searches of the forest surrounding Yekaterinburg up until 2007 failed to turn up the cremation site or the remains of Alexei and his sister.

2007 remains found and 2008 identification of remains

On 23 August 2007, a Russian archaeologist announced the discovery of two burned, partial skeletons at a bonfire site near Yekaterinburg that appeared to match the site described in Yurovsky's memoirs. The archaeologists said the bones are from a boy who was roughly between the ages of ten and thirteen years at the time of his death and of a young woman who was roughly between the ages of eighteen and twenty-three years old. Anastasia was seventeen years, one month old at the time of the assassination, while Maria was nineteen years, one month old. Alexei was two weeks shy of his fourteenth birthday. Alexei's elder sisters Olga and Tatiana were twenty-two and twenty-one years old at the time of the assassination. Along with the remains of the two bodies, archaeologists found "shards of a container of sulfuric acid, nails, metal strips from a wooden box, and bullets of various caliber." The bones were found using metal detectors and metal rods as probes. Also, striped material was found that appeared to have been from a blue-and-white striped cloth; Alexei commonly wore a blue-and-white striped undershirt.

On 30 April 2008 Russian forensic scientists announced that DNA testing proves that the remains belong to the Tsarevich Alexei and to one of his sisters.

DNA information, made public in July 2008, that has been obtained from Ekaterinburg and repeatedly tested independently by laboratories such as the University of Massachusetts Medical School reveals that the final two missing Romanov remains are indeed authentic and that the entire Romanov family housed in the Ipatiev House, Ekaterinburg were executed in the early hours of 17 July 1918.[57] In March 2009, results of the DNA testing were published, confirming that the two bodies discovered in 2007 were those of Tsarevich Alexei and one of his sisters.

Sainthood
Main article: Romanov sainthood
In 2000, Alexei and his family were canonized as passion bearers by the Russian Orthodox Church. The family had previously been canonized in 1981 by the Russian Orthodox Church Abroad as holy martyrs. The bodies of Tsar Nicholas II, Tsarina Alexandra, and three of their daughters were finally interred at St. Peter and Paul Cathedral in St. Petersburg on 17 July 1998—eighty years after they were murdered.

The reburial of Alexei's remains, so as to be with those of his family, was planned for 2015 but has been delayed due to the insistence of the Russian Orthodox Church on more DNA-testing.



Historical significance
Alexei was the heir to the Romanov Throne. Paul I had passed laws forbidding women to succeed to the throne (unless there were no legitimate male dynasts left, in which case, the throne would pass to the closest female relative of the last Tsar). This was done in revenge for what he perceived to be the illegal behavior of his mother, Catherine II ("the Great") in deposing his father Peter III.

Nicholas II was forced to abdicate on 15 March [O.S. 2 March] 1917. He did this in favour of his twelve-year-old son Alexei who ascended the throne under a regency. Nicholas later decided to alter his original abdication. Whether that act had any legal validity is open to speculation. Nicholas consulted with doctors and others present and realised that he would have to be separated from Alexei. Not wanting Alexei to be parted from the family, Nicholas altered the abdication document in favour of his younger brother Grand Duke Michael Alexandrovich of Russia. After receiving advice about whether his personal security could be guaranteed, Michael declined to accept the throne without the people's approval through an election held by the proposed Constituent Assembly; no such referendum was ever held.


Nicholas II, Alexei, Tatiana and Nikita
Alexei's haemophilia was integral to the rise of Grigori Rasputin. One of the many things Rasputin did that unintentionally facilitated the fall of the Romanovs was to tell the Tsar that the war would be won once he (Tsar Nicholas II) took command of the Russian Army. Following this advice was a serious mistake as the Tsar had no military experience. The Tsarina, Empress Alexandra, a deeply religious woman, came to rely upon Rasputin and believe in his ability to help Alexei where conventional doctors had failed. This theme is explored in Robert K. Massie's Nicholas and Alexandra. It is possible that if Alexei had not suffered so terribly, Rasputin could never have gained such influence over Russian politics during World War I, which is generally seen to have at least hastened the collapse of Romanov rule.


Caring for Alexei seriously diverted the attention of his father, Nicholas II, and the rest of the Romanovs from the business of war and government.


Atalanta car company reborn after 75 years / VIDEO below: The British Car Company Reborn After 75 Years

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The British Car Company Reborn After 75 Years

Atalanta Motors is a new British car company created in 2011 by Martyn Corfield to relaunch the dormant 1930s Atalanta which stopped production due to the war after a production run of only 21 cars.

Initially announcing the rebirth of the marque in 2012 with the retro-designed Sports Tourer, Atlanta Motors displayed another car at the 2014 Concours of Elegance at Hampton Court Palace, but production models have yet to be announced.

The new Atalanta is built from hand-beaten aluminium panels over an ash wood chassis, with a claimed 90 per cent of the components designed and engineered in-house. The Atalanta features disc brakes, rack and pinion steering and is powered by a 2.5-litre 4-cylinder engine producing 200 bhp
(149 kW; 203 PS




Atalanta car company reborn after 75 years
The car company that faded into existence during World War Two is finally revived
One investor is trying to change the perception that the days of British motor engineering are long gone.
Martyn Corfield has brought Atalanta, a motor company that stopped producing cars during World War Two, back to life.
The car manufacturer was founded in 1936 and was the most technically-advanced vehicle of its time, Mr Corfield said.
"It's a British motor company with good heritage that's been lost in the years", he said.
Mr Corfield enquired about the dormant company in 2006 and has since brought it to new glory.




Atalanta

Atalanta Motors today brings its original vintage sports car up to date. Acknowledging over 75 years of automotive evolution, yet remaining true in spirit and sympathetic to the style and function of the original Atalanta sports car design.

Established in December 1936 and based in Staines Middlesex, Atalanta Motors Ltd designed and produced innovative and exciting sports cars for just over two years before the outbreak of war halted development and production after only about 22 cars were made.

Atalanta Motors were the only pre-war British car manufacturer that instigated and brought together innovative design features that included fully independent coil spring suspension; adjustable damping front and rear; full hydraulic brakes; electric operated pre-selector gearbox (an early semi-automatic!); three valve twin spark cylinder head, and made use of lightweight materials such as electron, duralumin and hiduminium for many of its castings. Initially the Atalanta was offered with Alfred Gough’s aluminium 1½-litre 78 bhp and 2-litre 98 bhp four cylinder engines initially developed for Fraser Nash cars. A supercharged option was also available and later in 1938 a more reliable 4·3 litre V-12 Lincoln Zephyr engine producing 112 bhp was introduced.

Atalanta cars were available in a variety of configurations including an open two seat sports car, two door saloon and a drop head coupe; these advanced and expensive sporting cars were regularly tested by both their owners and the works in various competitive events with some success in the late 1930’s. All Atalanta models benefited from a lightweight construction that contributed to delivering excellent performance and coupled with revolutionary road holding (that was reviewed in a 1939 road test as “beyond criticism; rough, almost colonial sections can be treated like main roads. The Atalanta has the tenacious quality of a racing car when cornering, and it is nearly impossible to cause the tyres to squeal”) the cars gave great traction and high levels of grip.

Atalanta’s original design philosophy of producing a performance sports car with lightweight construction and reduced un-sprung weight coupled with a light but powerful four cylinder engine is still embraced today.

Our objective is again to provide discerning owners with a stylish, exhilarating drive, with easily accessible ‘torque derived’ performance; a comfortable ride with assured traction yet engaging handling that delivers driver satisfaction even at modest speeds.

Remaining true to the original design ethos, delivering sporting performance by employing modern materials and technology, today’s car enhances the positive and enjoyable characteristics of vintage motoring in a reliable and usable package that is relevant to today’s driving environment.




Atalanta Motors today offers a unique opportunity to experience a truly exclusive new British built sports car.

Each car is built to order. Traditionally hand crafted from scratch, with automotive advancements discretely packaged within the elegant lines of the original 1930’s design.

The New Atalanta is neither a recreation nor a facsimile of any other motor car from a bygone era. It is the perpetuation of an original exquisitely crafted sports car, that provides prospective owners with an authentic opportunity to demonstrate truly individual style and good taste.

Responsive performance and a comfortable ride, coupled with engaging yet benign handling, delivers an exhilarating drive even at modest speeds.

Remaining true to the original design and hand crafted ethos, all round performance is assured through employing modern materials and technology only where appropriate.

As a result, todays Atalanta enhances the positive and more enjoyable characteristics of vintage motoring whilst providing the much improved performance, reliability and safety so relevant to today’s driving environment.

As befitting a traditional coach built car, our clients are engaged in the creative process, defining their Atalanta’s style and final appearance.

Infinite possibilities are available from specification of any paint and trim combination, to influencing the more subtle and individual points of finish and fine detailing.

Not just an individual statement, at its core the new Atalanta will always be an authentic and impeccably British sports car rarity.


Based at Bicester Heritage, we enjoy good links from London via road, rail and the major airports. Full co-ordinates can be supplied for Bicester Heritage’s on site landing facilities.


Bicester Heritage
Buckingham Road
Bicester
Oxfordshire
England

By Telephone
If you are interested in coming to talk to us please telephone to make an appointment.

+44 (0)1869 242200

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Nigel Cabourn Interview in Pitti Uomo

Nigel Cabourn / VIDEO: - Reveal his secret and his age | GlamUk

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Nigel Cabourn is a British fashion designer known for his outerwear and vintage inspired clothing. He studied at Northumbria University between 1967 and 1971 and his studio and business is still based in the North East of England.

The collections are influenced by military clothing and vintage clothing, using fabrics such as Harris Tweed & Ventile.

The Army Gym is the Japanese shop for the Nigel Cabourn brands. In August 2008, Nigel Cabourn Marketing Ltd., was set up as a joint venture with Abahouse Holdings Co. Ltd., the joint owner of Outer Limits Co. Ltd., that makes the Nigel Cabourn ‘Main Line’ collection.




I don’t class myself as a ‘fashion designer’ as I don’t follow fashion. Everything I design comes from either a moment in history, an inspirational person or a vintage garment.For over 35 years I’ve been avidly collecting vintage military, sports, expedition and work wear clothing and books and have amassed thousands of pieces from all corners of the globe. I’m absolutely fascinated and excited by the fabric and details in these functional, comfortable and above all durable garments, which have on the whole, been created not by fashion designers but by technicians and scientists.For me product comes first. The fabrics and trims, the manufacturers we work with are all carefully chosen so we produce the best garments we can. At the end of the day my aim with each collection or collaboration is to create timeless styles that have the quality to last, get better with age and wear and that are still relevant in years to come. Clothing that people can wear for a lifetime then pass down to their children. – Nigel Cabourn











Vintage performers



SEPTEMBER 21, 2012 by: Carola Long

Does that parka on the catwalk look familiar? Is that military jacket a dead ringer for the one in Bridge Over the River Kwai? It’s no secret that many of the designs shown during fashion week will have been inspired by – or even copied from – vintage looks.

Now, menswear brands will get another source of retrospective inspiration courtesy of new book Vintage Menswear: A Collection from the Vintage Showroom. It’s a compendium of images and descriptions of clothing collected by Douglas Gunn and Roy Luckett, who run the Vintage Showroom, a service used by numerous designer and high street brands. Designers make appointments to visit the west London archive of historic menswear from around the world, or rent or buy clothes from the collection. The owners will also hunt down specific pieces – or do what co-owner Gunn calls inspiration work: “looking into a company’s history or buying up archive pieces”.

Though few brands will publicly admit to using the service, Gunn says, “If you are a menswear designer, chances are you have visited the Vintage Showroom or the website.”

“Certain designers and companies rely heavily on vintage pieces, sometimes from their own archives,” says Robert Leach, lecturer at Central Saint Martin’s College and the University of Westminster. “Think of companies like Burberry or Belstaff, with their long histories of trademark details that can be drawn on for inspiration.”

Indeed, pieces in the book – such as a 1930s striped boxing blazer, a 1950s mountain rucksack that wouldn’t look out of place in today’s Urban Outfitters, or a 1920s canvas parka that could have been plucked from Gap’s shelves – show how little menswear has changed.

The most the Vintage Showroom has spent on one item is £20,000 – on a submarine coat made in the 1930s for HMS Ursula. “The captain of the boat went to Barbour to get them to design a two-piece wax cotton suit,” says Gunn. “We spoke to Barbour but they didn’t want to sell theirs, and we spent a lot of time tracking one down.”

Nigel Cabourn, whose menswear line is based around British heritage clothing with a practical focus (for instance, the Everest parka, £2,200, in his current range is inspired by the one worn by Sir Edmund Hillary to scale Everest), is one of the few designers who will discuss his work with the Vintage Showroom. Indeed, he says he finds it invaluable. “For me it’s no secret because my brand is based around vintage designs, but some brands don’t want to expose how they got their ideas,” he says. “I quite often recognise the originals that inspired them.”

Cabourn says his designs are sometimes “very similar to historic pieces”, explaining that “actual clothing can tell you more [about a period] than a photo or film ... colour, fabric, weight, etc.”

Gunn says he has noticed that more brands are looking to build up their archives with early advertising books or fabrics in a bid to cultivate that all-important aura of heritage. After all, in the fashion industry, the past isn’t really a foreign country, and they don’t do things so differently there.

‘Vintage Menswear: a Collection from the Vintage Showroom’ by Josh Sims, Douglas Gunn, Roy Luckett (Laurence King, £30)




Prince John The Windsors Tragic Secret


Prince John, the Lost Prince / VIDEO: Prince John having a severe epileptic fit at his grandfather's funeral(f...

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Prince John of the United Kingdom (John Charles Francis; 12 July 1905 – 18 January 1919) was the fifth son and youngest of the six children born to King George V and his wife, Queen Mary. At the time of John's birth, his father was the Prince of Wales and heir apparent to the reigning monarch of the United Kingdom, Edward VII. In 1910, George succeeded to the throne upon Edward's death and John became the fifth in line of succession.

In 1909, John was discovered to have epilepsy. As his condition deteriorated, he was sent to live at Sandringham House and was kept away from the public eye. There, he was cared for by his governess, "Lala" Bill, and befriended local children whom his mother had gathered to be his playmates. Prince John died at Sandringham in 1919, following a severe seizure, and was buried at nearby St Mary Magdalene Church. His illness was disclosed to the wider public only after his death.

Prince John's alleged seclusion has subsequently been brought forward as evidence for the inhumanity of the royal family. However, records show that the Prince was in some ways given favourable treatment by his parents, in comparison to his siblings, and contrary to the belief that he was hidden from the public from an early age, John for most of his life was a "fully-fledged member of the family", appearing frequently in public until after his eleventh birthday.

His long acknowledged learning disability and a possible intellectual disability have both been linked to his severe epilepsy; recent speculation finds some behaviors consistent with autism.


Birth
Prince John was born at York Cottage on the Sandringham Estate on 12 July 1905, at 3:05 a.m.[3] He was the youngest child and fifth son of George Frederick, Prince of Wales and Mary, Princess of Wales (née Mary of Teck). He was named John despite that name's unlucky associations for the royal family,[4] but was informally known as "Johnny". At the time of his birth, he was sixth in the line of succession to the throne, behind his father and four older brothers. As a grandchild of the reigning British monarch in the male line, and a son of the Prince of Wales, he was formally styled His Royal Highness Prince John of Wales from birth.


John was christened on 3 August in the Church of St Mary Magdalene at Sandringham, the Reverend Canon John Neale Dalton officiating. His godparents were King Carlos I of Portugal (his third cousin once removed, for whom the Prince of Wales stood proxy), the Duke of Sparta (his first cousin once removed), Prince Carl of Denmark (his uncle by marriage and first cousin once removed, for whom the Prince of Wales stood proxy), Prince John of Schleswig-Holstein-Sonderburg-Glücksburg (his great-great-uncle, for whom the Prince of Wales stood proxy), Alexander Duff, 1st Duke of Fife (his uncle by marriage, for whom the Prince of Wales stood proxy), the Duchess of Sparta (his first cousin once removed, for whom Princess Victoria of the United Kingdom stood proxy), and Princess Alexander of Teck (his first cousin once removed, for whom Princess Victoria stood proxy).


Early life and illness

Much of John's early life was spent at Sandringham with his siblings—​Prince Edward (known as David to the royal family), Prince Albert, Princess Mary, Prince Henry and Prince George—​under the care of their nanny Charlotte "Lala" Bill.[4] Though a strict disciplinarian,[note 2] the Prince of Wales was nonetheless affectionate toward his children;[7] the Princess of Wales was close to her children and encouraged them to confide in her.[8] In 1909, John's great-aunt, the Dowager Empress of Russia wrote to her son, Emperor Nicholas II, that "George's children are very nice ... The little ones, George and Johnny are both charming and very amusing ..."[9] Princess Alexander of Teck described John as "very quaint and one evening when Uncle George returned from stalking he bent over Aunt May and kissed her, and they heard Johnny soliloquize, 'She kissed Papa, ugly old man!'"[10] George once said to U.S. President Theodore Roosevelt that "all [his] children [were] obedient, except John"—​apparently because John alone, among George's children, escaped punishment from their father.

Though a "large and handsome" baby, by his fourth birthday John had become "winsome" and "painfully slow". That same year he suffered his first epileptic seizure and showed signs of a disability, probably autism. When his father succeeded as George V upon Edward VII's death in 1910, John was awarded the title "His Royal Highness The Prince John". John did not attend his parents' coronation on 22 June 1911, as this was considered too risky for his health; nonetheless, cynics said that the family feared their reputation would be damaged by any incident involving him. Although John was deemed not "presentable to the outside world," George nonetheless showed an interest in him, offering him "kindness and affection".


During his time at Sandring­ham, John exhibited some repetitive behaviors as well as regular misbehaviours and insubordination: "he simply didn't under­stand he needed to [behave]." Nonetheless there was hope his seizures might lessen with time—​. Contrary to the belief that he was hidden from the public from an early age, John for most of his life was a "fully-fledged member of the family", appearing frequently in public until after his eleventh birthday.

In 1912 Prince George, who was nearest in age to John and his closest sibling, began St. Peter's Court Preparatory School at Broadstairs. The following summer, The Times reported that John would not attend Broadstairs the following term, and that George and Mary had not decided whether to send John to school at all. After the outbreak of World War I, John rarely saw his parents, who were often away on official duties, and his siblings, who were either at boarding school or in the military. John slowly disappeared from the public eye and no official portraits of him were commissioned after 1913.


Wood Farm
In 1916, as his seizures became more frequent and severe, John was sent to live at Wood Farm, with Bill having charge of his care. Though John maintained an interest in the world around him and was capable of coherent thought and expression with his lack of educational progress the last of his tutors was dismissed and his formal education ended. Physicians warned that he would likely not reach adulthood.

At Wood Farm, John became "a satellite with his own little household on an outlying farm on the Sandring­ham estate ... Guests at Balmoral remember him during the Great War as tall and muscular, but always a distant figure glimpsed from afar in the woods, escorted by his own retainers." His grandmother Queen Alexandra maintained a garden at Sandring­ham House especially for him, and this became "one of the great pleasures of [John]'s life."

After the summer of 1916, John was rarely seen outside the Sandring­ham Estate and passed solely into Bill's care. After Queen Alexandra wrote that "[John] is very proud of his house but is longing for a companion," Queen Mary broke from royal practice by having local children brought in to be playmates for John. One of these was Winifred Thomas, a young girl from Halifax who had been sent to live with her aunt and uncle (who had charge of the royal stables at Sandring­ham) in hopes her asthma would improve. John had known Winifred years earlier, prior to the outbreak of World War I. Now they became close, taking nature walks together and working in Queen Alexandra's garden. Leslie Saward Heath (born 1914 in Wolferton Station House), whose Grandfather was Harry Leonard Saward RVM MVO, the Royal Station Master at Wolferton from 1884-1924, also played with Prince John at the farmhouse. John also played with his elder siblings when they visited: once, when his two eldest brothers came to visit John, the Prince of Wales (formerly Prince Edward) "took him for a run in a kind of a push-cart, and they both disappeared from view."


John, pictured on a postcard from c. 1912-13
Death
As John's seizures intensified (Bill later wrote) "we [dared] not let him be with his brothers and sister, because it upsets them so much, with the attacks getting so bad and coming so often." Biographer Denis Judd believes that "[John]'s seclusion and 'abnormality' must have been disturbing to his brothers and sister", as he had been "a friendly, outgoing little boy, much loved by his brothers and sister, a sort of mascot for the family". He spent Christmas Day 1918 with his family at Sandring­ham House but was driven back to Wood Farm at night.

On 18 January 1919, after a severe seizure, John died in his sleep at Wood Farm at 5:30 p.m. It is now known, due to modern autopsy techniques, that people with epilepsy may die of it, with no other illness or injury contributing to death nor to the etiology of the condition.

Queen Mary wrote in her diary that the news was "a great shock, tho' for the poor little boy's restless soul, death came as a great relief. [She] broke the news to George and [they] motored down to Wood Farm. Found poor Lala very resigned but heartbroken. Little Johnnie looked very peaceful lying there."

Mary later wrote to Emily Alcock, an old friend, that "for [John] it is a great relief, as his malady was becoming worse as he grew older, & he has thus been spared much suffering. I cannot say how grateful we feel to God for having taken him in such a peaceful way, he just slept quietly into his heavenly home, no pain no struggle, just peace for the poor little troubled spirit which had been a great anxiety to us for many years, ever since he was four years old." She went on to add that "the first break in the family circle is hard to bear, but people have been so kind & sympathetic & this has helped us much." George described his son's death simply as "the greatest mercy possible".


On 20 January the Daily Mirror said that "when the Prince passed away his face bore an angelic smile"; its report also made the first public mention of John's epilepsy. His funeral was the following day at St Mary Magdalene Church, John Neale Dalton officiating.Queen Mary wrote that "Canon Dalton & Dr Brownhill [John's physician] conducted the service which was awfully sad and touching. Many of our own people and the villagers were present. We thanked all Johnnie's servants who have been so good and faithful to him." Though nominally private, the funeral was attended by Sandring­ham House staff; "every single person on the estate went and stood around the gates and his grave was absolutely covered in flowers." Queen Alexandra wrote to Queen Mary that "now [their] two darling Johnnies lie side by side".


Legacy

Prince John (right) and Prince George photographed during a royal shopping trip.
Prince Edward who had hardly known John, saw his death as "little more than a regrettable nuisance." He wrote to his mistress of the time that "[he had] told [her] all about that little brother, and how he was an epileptic. [John]'s been practically shut up for the last two years anyhow, so no one has ever seen him except the family, and then only once or twice a year. This poor boy had become more of an animal than anything else." He also wrote an insensitive letter to Queen Mary, which has since been lost. She did not reply, but he felt compelled to write her an apology, in which he stated that "[he felt] like such a cold hearted and unsympathetic swine for writing all that [he] did ... No one can realize more than [she] how poor little Johnnie meant to [him] who hardly knew him ..." He went on to state "I feel so much for you, darling Mama, who was his mother." In her final mention of John in her diary, Queen Mary wrote simply "miss the dear child very much indeed." She gave Winifred Thomas a number of John's books, which she had inscribed, "In memory of our dear little Prince.""Lala" Bill always kept a portrait of John above her mantelpiece, together with a letter from him which read "nanny, I love you."

In recent years, Prince John's seclusion has been brought forward as evidence towards the "heartlessness" of the Windsor family, According to a 2008 Channel 4 documentary, much of the existing information about John is "based on hearsay and rumour, precisely because so few details of his life and his problems have ever been disclosed," and the British Epileptic Association has stated, "There was nothing unusual in what [the King and Queen] did. At that time, people with epilepsy were put apart from the rest of the community. They were often put in epilepsy colonies or mental institutions. It was thought to be a form of mental illness," adding that it was another twenty years before the idea that epileptics should not be locked away began to take hold.[29] The royal family believed that these afflictions flowed through their blood, which was believed to be purer than the blood of a commoner, and, as such, wished to hide as much as possible in regard to John's illness. Others have suggested that John was sent to Wood Farm to give him the best environment possible under the "austere" conditions of World War I. Undoubtedly the royal family were "frightened and ashamed of John's illness", and his life is "usually portrayed either as tragedy or conspiracy". At the time that Edward VIII (formerly Prince Edward) abdicated, an attempt was made to discredit Prince Albert, who had succeeded as George VI, by suggesting that he was subject to falling fits, like his brother. In 1998, after the discovery of two volumes of family photographs, John was briefly brought to public attention.



The Lost Prince is a British television drama about the life of Prince John – youngest child of Britain's King George V and Queen Mary – who died at the age of 13 in 1919.

A Talkback Thames production written and directed by Stephen Poliakoff, it was originally broadcast in January 2003. It won an Emmy Award in September 2005.


John suffered from epileptic seizures and an autism-like developmental disorder, and the Royal Family tried to shelter him from public view; the script shied away from presenting the Royal Family as unsympathetic, instead showing how much this cost them emotionally (particularly John's mother, Queen Mary). Poliakoff explores the story of John, his relationship with his family and brother Prince George, the political events going on at the time (such as the fall of the House of Romanov in 1917) and the love and devotion of his nanny, Charlotte Bill.

Episode One

A spellbound young Prince John gazes as his family attend an elaborate birthday party for his pampered and indulged grandmother, Queen Alexandra, held at Sandringham in Norfolk during the winter.

When summer arrives there is much excitement again as Tsar Nicholas II, Tsarina Alexandra, and their children, visit their relatives, the British royals at the Isle of Wight. The Russians entrance Prince John with their exotic splendour. It is clear, even at this stage, that Johnnie, a charming and attractive boy, has an eccentric view of the world and is uninhibited in a way that is alien to his parents. His ailing grandfather, King Edward VII, loves him for his frankness. It is clear also that his nanny, Lalla, is reluctant to reveal the seriousness of his medical condition.

While the populace of the capital gaze into the night skies to catch a glimpse of an approaching comet, Johnnie's parents are called to Buckingham Palace to be by the King's deathbed.

During the funeral attended by all the heads of state of Europe, including the Kaiser Wilhelm, Johnnie succumbs to a serious epileptic fit. Queen Mary, Johnnie's mother, summons doctors to examine him and their diagnosis confirms her and Lalla's worst fears. Lalla volunteers to look after Johnnie to prevent him being sent to an institution. The two of them are to be sent to Sandringham, where Johnnie is to be prevented from encountering anybody but the closest members of his family.

His sibling, Prince George, who has always treasured Johnnie, swears to protect him. Johnnie, now a few years older, is deprived of the company of any children and finds the schooling of his tutor, Hansell, unfathomable. Although lonely, he always takes an optimistic view of life. Then one day, to the acute embarrassment of King George V and Queen Mary, he speaks his mind at a tea party held for Prime Minister H.H. Asquith and his Chancellor of the Exchequer, Lloyd George.

Johnnie is summoned to London to be re-examined by the doctors. During his stay he is taken by his brother George up to the minstrel's gallery looking down on the banqueting hall of Buckingham Palace, to observe a grand state occasion. The assembled dignitaries are chattering feverishly about the poise with which the Queen has dealt with the intrusion of a suffragette, who has confronted the Queen to demand her support for women's emancipation.

During the banquet Asquith and Lloyd George are called back to Downing Street to receive the news that is to prove to be the catalyst for the start of the First World War.

The following morning Johnnie receives a rare audience with his father King George, who shows him his treasured stamp collection. Johnnie is more interested in his father's pet parrot, Charlotte. Suddenly, father and son are interrupted by the King's Private Secretary, Stamfordham, who has come to relay the news of the assassination of Archduke Franz Ferdinand in Sarajevo. Realising that the news has been withheld from him, the King erupts in fury. Unnoticed by the adults, Johnnie pursues Charlotte, as the terrified bird flies away into the bowels of the building. The Queen, Lalla and George go searching for Johnnie and his mother is shocked when she sees, for the first time, one of Johnnie's debilitating fits. In the midst of scurrying officials gathering for urgent diplomatic meetings, Johnnie is secreted out of the Palace and back to the isolation of his country estate.

Episode Two

Prince George witnesses the brinkmanship of the allies in the face of the belligerent posture taken by Germany. Much to the surprise of all concerned, the weak and vacillating Tsar of Russia mobilises his troops and plunges Europe into war. Against his wishes, George is sent to the harsh Naval Academy where his rebellious nature leads him to question the propaganda about the cruelty of the German armed forces.

Propaganda combined with the disastrous consequences of the conflict on the battlefield of Flanders turns the public's attention to the German ancestry of the British royal family. The trauma of war is even felt by Johnnie, Lalla and their household, who are forced to live in increased isolation in Wood Farm, on the fringes of the Sandringham estate. Prince George is determined, however, to maintain contact with Lalla and his brother. He arrives to relay the news that the family is to change its name to Windsor and that the Tsar of Russia has abdicated and is to be exiled in Britain by the Bolshevik revolutionaries.

George is alarmed at the reaction of his own subjects and persuades Stamfordham to press Lloyd George to reverse the invitation to the Tsar. Johnnie dreams innocently of his Russian cousins coming to live with him and is being prepared by Lalla to give a recital to his parents. King George and Queen Mary are traumatised by what follows -- the execution of the Romanovs. Weighed down by the effects of the conflagration that has enveloped Europe, they find consolation when their son Johnnie dies in his unbounded optimism and unalloyed love of life. We know that George and Lalla will be comforted every day of their lives by remembering his pure and untarnished character.


Reception & awards
The drama won a high viewing figure and much praise, was released on VHS and DVD, and was repeated on BBC One in January 2004. A further repeat showing followed on BBC Two in January 2006. It is now occasionally shown in two parts on the BBC cable channel UK History. Both Miranda Richardson and Gina McKee received Best Actress nominations at the British Academy Television Awards. The miniseries was also nominated for BAFTA TV awards for editing (Clare Douglas), music (Adrian Johnston), and photography (Barry Ackroyd).

After presentation in the United States in October 2004, it won the Emmy Award for Outstanding Miniseries in 2005. Miranda Richardson was nominated for a Golden Globe.

It was also repeated on BBC Two on 14 & 21 November 2009.


A life in drama: Stephen Poliakoff
'What really buys you freedom is being successful. So long as you deliver, they leave you alone'

Saturday 28 November 2009 00.05 GMT

For someone best known for Shooting the Past, a television drama apparently so slow and un-televisual that BBC executives begged him to speed it up, Stephen Poliakoff is a very fast talker. Sentences tumble into one another, thoughts jerkily digress, regroup and change their angle of attack. Ideas flit in and out of focus as all the while a plastic drinking straw is furiously twiddled between his fingers. Outlining details of his latest venture, Glorious 39, his first feature film for 12 years, Poliakoff makes glancing references to George W Bush, Bulldog Drummond, the history of the wire tap and Norfolk's evergreen oaks in expressing his fascination and horror at the aristocratic and establishment appeasers who, in the run-up to the second world war, mounted a desperate last effort to do a deal with Hitler in the hope of retaining their power and privilege.

Poliakoff's 1999 play Talk of the City had addressed the BBC's reluctance to broadcast news of Jewish persecution in Nazi Germany before the outbreak of the war. "But for some reason I didn't then ask the obvious question as to what was going on in the political and aristocratic elite. I sort of accepted that Chamberlain was this rather boring figure with a silly umbrella and it all worked out in the end. But then I read up on the period and found out what an incredibly close run thing it was. There was just a tiny band of people around Churchill who were up against most of the Tory party, the aristocracy, the royal family and the newspaper editors of the time. My mother's family were aristocratic Jews and leading figures in the Liberal party. If the appeasers had won and Britain had become a Vichy-style state, she would certainly have been taken away. I became very interested in how close I came to not being here."

Although Poliakoff's early plays were aggressively contemporary – "appalling hamburger bars, subterranean discos, early versions of karaoke, neon and violence"– it is for his idiosyncratic treatment of the past that he is best known today. "But I didn't really write about my Jewish background until I was into my 40s." More or less oblique references to the Holocaust and the 1930s cropped up in Shooting the Past (1999), Perfect Strangers (2001) and Joe's Palace (2007) before the more direct study in Glorious 39. "So both my parents were dead by the time I really addressed the subject," he says, before, for the first time, abruptly stopping the apparently endless flow of conversation.

"It really hadn't occurred to me until this moment that – and it's such an obviously glaring fact now I say it – those things could be linked. I didn't really write about Jewishness and what happened to the Jews until my parents died."

In Perfect Strangers, a character says: "If you dig hard enough, there are at least three great stories in any family" and Poliakoff's use of the family as the arena in which wider events reverberate has became as characteristic in his work as the large mysterious houses, the archives of sound or images, or the hidden corners of history.

Neither Churchill nor Chamberlain feature in Glorious 39, in which the drama is played out in the aristocratic Keyes family whose adopted daughter, played by Romola Garai, begins by feeling "very secure in this world, but when it begins to unstitch it happens incredibly quickly", explains Poliakoff. "That's what happened all over Europe for Jewish people who had lived happily among their neighbours for years. Then it changed. In the case of Vienna, it changed within hours.

"One minute it was a café society and everything going along nicely. Then Hitler entered and people were watching through the windows as their Jewish neighbours were cleaning pavements and being spat at. It shows how an apparently civilised surface can crack open to reveal the darkness incredibly quickly, as most recently happened in the former Yugoslavia. We never had to face up to our antisemitism after the war because of our brave and proud history – and it was brave and proud. But it was a damn close run thing, and the forces trying to do a deal were incredibly powerful. It really could have happened here."

Poliakoff was born in London in 1952 into a home that was both "quite formal and quite chaotic". His father's family had come to the UK from Russia in 1924, having witnessed the revolution from their flat near Red Square before escaping – with a diamond smuggled in a shoe – when Stalin came to power. His inventor grandfather died when Poliakoff was a child, but his grandmother lived on into his adulthood telling "amazing stories that lasted only a few seconds, which she told with absolutely no elaboration. So she'd say, 'I once saw Tolstoy and followed him down the street to see how many people recognised him'. And that was it. She saw the first production of The Cherry Orchard but never said a word about how it was received."

Poliakoff's father and grandfather's firm produced, among other things, hearing aids – including Churchill's – and later invented the hospital bleeper. The family were great Anglophiles even when they lived in Russia, and Poliakoff says his father was obsessed with manners and became very snobbish. "There was a lot of tension in the house about using correct forks, and even into the 1990s he would kiss women's hands." Although the business was sometimes financially precarious, the firm bought a Rolls-Royce, which would pick Poliakoff up from school. "And then my father would speak to the headmaster just to mention that he had 'brought the Rolls today'."

Poliakoff had been the only Jewish boy at his prep school and fellow pupils would watch him carefully to see which bits of the Lord's Prayer he said. In those days, he says, he twiddled a stick between his fingers, not a drinking straw. His education continued at Westminster school, where he wrote a play that was reviewed in the Times. Christopher Hampton had just been appointed as the first resident dramatist at the Royal Court, and part of his job was "to go prospecting". "So I heard about this play at Westminster and went along," he says. "Stephen was much as he is now: nervous, clearly very bright with too many things on his mind to formulate complete sentences. His play was extremely promising and I got the Royal Court to commission another one from him which, in time-honoured Royal Court fashion, they ended up deciding not to do."

Hampton remembers even then a "distinctive writing personality. Like everyone's first plays, it was unsophisticated and ragged round the edges – but it had a real intensity. And then, as now, he seemed to be slightly off the rhythm in that the work is sort of jazzy, you don't get quite what you expect." Poliakoff says the cancelled play, which Richard Eyre was due to direct, was his "first lesson in how devastating showbiz can be. Shortly afterwards my mother, who was far too interested in my career having wanted to be an actress herself, said to me that, despite being only 17, my career 'was going nowhere', which I thought was a bit harsh."

The following year Poliakoff was invited to participate in a now notorious theatre project when seven radical fringe theatre writers, including Howard Brenton, Trevor Griffiths and David Hare, collaborated on an experimental work, Lay By, about a rape and its consequences. "It verged on the pornographic," Poliakoff recalls. "I had to look up some of the sexual terms in a dictionary. I was very much the baby of the pack and only actually contributed a few lines, but it did have an interesting effect. Naturalism was frowned upon at the time, and the sort of heightened realism I felt I was gravitating towards wasn't part of their world. The others weren't terribly interested in evoking time and place or psychological character development, and that helped to define me, albeit in a negative way, because at least I realised what I was not."

Poliakoff says he has always thought of himself as being on the left. "But I never wanted to be didactic or agitprop or even polemical. I was more interested in celebrating complexity. I've always thought people are more complex than the marketing men, or the political class, or the media class give them credit for. People can contain two contradictory ideas in their heads at the same time, so telling them what to think at the end of a play insults their intelligence. There are ways of showing different ways in which the world might be ordered. But not by pointing them out. Instead you try to deal with the complexity."

Poliakoff went up to Cambridge to read history but left before completing his degree. He says he was too late for 60s euphoria and optimism, and by the time he was writing on the fringe it was against a backdrop of the "brutal rebuilding of Britain. All those city centres torn up and redesigned for the car, which now seems ridiculously short sighted. This all coincided with a tottering minority Labour government held up with IMF loans, huge industrial unrest and bombs going off in Northern Ireland. My first big success, Hitting Town (1975), was about a brother and sister retreating from the violence into an incestuous night. It was private reaction to public bleakness."

That his early plays were almost exclusively urban and contemporary he says, in hindsight, must have been some sort of reaction against his background. "Both of my parents were born before the first world war and had very old-fashioned views that were quite claustrophobic. My father's love of Georgian architecture and Rolls-Royces, my mother's fascination with matinee idols and people like Rex Harrison, this was a 30s view of Britain carried through into the 60s and 70s. I wanted to write about what I saw around me."

He also wanted his work to be seen by as large an audience as possible. He remembers "stumbling across" Pinter's A Night Out on television when he was 10 or 11. "I was completely alone and had no context for it, but thought it was fascinating and also that it was the norm, which in a way it was as 11 million other people watched it." He says even though the Times didn't carry television reviews until well into the 80s, "it was both sexy and artistically credible to be on TV. Dennis Potter was already famous. John Osborne and Tom Stoppard did television work. There were plenty of role models and I had no problem moving between TV and theatre."

Poliakoff's television breakthrough came in 1977 with the nuclear thriller Stronger Than the Sun in the BBC's Play for Today slot. His 1980 television film Caught on a Train, starring Peggy Ashcroft, won a Bafta. While he acknowledges that its success encouraged the BBC to allow him more freedom, he also says "Everybody had more freedom back then. There was always a bureaucratic thing about money, but no one was ever told how to write. The tradition was to put on the writer's vision."

But by the time he returned to television in the late 90s, after a period working in the theatre and making feature films, both he and the medium had changed. Breaking the Silence, his 1984 RSC tragicomic play set on a train just after the Russian revolution, had been his first serous attempt to deal with both his, and the continent's history. "Then Michael Jackson [controller of BBC1 at the time] said he wanted something that people would remember. Which did make me a bit cross because I thought I'd done that once or twice already. But I did attempt to write something completely different to what was on television." Written and directed by Poliakoff, Shooting the Past starred Timothy Spall and Lindsay Duncan in a story about a battle for a picture library. It was written in irregular length episodes with long, slow scenes that lingered over photographs and faces.

"I wanted to fight the idea that people couldn't concentrate for long, and when it was finished all hell did break loose. By now they did try to tell you how to write, and some relatively junior executives thought it should be cut and made quicker, which would have ruined the whole point of it. I went bananas and eventually won the battle. So it wasn't a question of being invited by the BBC to do what I liked.

"People did try to interfere, but I resisted them and was ultimately proved right." He followed up with the Bafta winning Perfect Strangers (2001) the Emmy winning The Lost Prince (2003) and Golden Globes for Gideon's Daughter (2005). "What really buys you freedom is being successful. So long as you deliver, they leave you alone."

Lorraine Heggessey, a former head of BBC1 and now chief executive of Talkback Thames, Poliakoff's long-time producers, says the degree of control he exercises is indeed exceptional. "The fashion for some time, and I've been part of this myself, is to edit everybody. You give them input to 'improve' their work. And in most cases it works. But sometimes you can also dilute things and you lose some of the original artistic vision. Stephen's vision remains intact and his work, in the theatre or on television or in the cinema, is instantly recognisable. And anyway, such is his personality that it's difficult not to let him do his own thing. He cares so much and puts so much into his work that of course there can be tensions. But someone once said to me: 'Work with the best, not the easiest.' And who are we to judge? You get the brilliance because of the purity of vision."

Poliakoff still expresses strong opinions about TV drama – most recently when he identified "Kafkaesque committees" at the BBC – and enjoys talking shop about Saturday night schedules, the impact of DVDs and reminiscing about the time, not so long ago, when The Lost Prince premiered against ITV's big gun of A Touch of Frost and between them pulled in 21 million people.

His next project will be a new stage play – "contemporary and urban"– and in future he intends to work simultaneously in the theatre, film and television. "I have some ideas for more movies, but I'm not giving up television. I want to write a 20th-century story but I might not direct it, as I just won't have the time. The alternative is not to write for television at all, and I have so many more things I want to do. But not a single person I've told believes that I'll be able to let go enough to allow someone else to direct. We'll see. I'm interested myself to see how it turns out."

SUNDAY IMAGES: In search for the perfect button down collar "roll" / In Brooks We Trust !

Spats / VIDEO:How to strap WHITE SPATS over your shoes (One size fits all / JOHN PATRI...

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Spats, a shortening of spatterdashes, or spatter guards are a type of classic footwear accessory for outdoor wear, covering the instep and the ankle. Spats are distinct from gaiters, which are garments worn over the lower trouser leg as well as the shoe.





Spats were primarily worn by men, and less commonly by women, in the late 19th and early 20th centuries. They fell out of frequent use during the 1920s. Made of white cloth, grey or brown felt material, spats buttoned around the ankle. Their intended practical purpose was to protect shoes and socks from mud or rain but this footwear also served as a feature of stylish dress in accordance with the fashions of the period.

Increased informality may have been the primary reason for the decline in the wearing of spats. In 1913, friends scrambled to help Griffith Taylor find spats and a top hat to receive the King's Polar Medal from King George V. In 1923 King George V opened the Chelsea Flower Show, an important event in the London Season, wearing a frock coat, gray top hat and spats. By 1926 the King shocked the public by wearing a black morning coat instead of a frock coat (a small but significant change). This arguably helped speed the Frock coat's demise (although it was still being worn on the eve of the Second World War). Spats were another clothing accessory left off by the King in 1926. Interestingly it is said that the moment this was observed and commented on by the spectators it produced an immediate reaction; the ground beneath the bushes was littered with discarded spats.

From New York in 1936, the Associated Press observed that "in recent years well-dressed men have been discarding spats because they have become the property of the rank and file." A revival of high-top shoes with cloth uppers was forecast to replace them.

The third reason is probably the most significant, and the most prosaic—once western city streets became cleaner; due to the replacement of horses by cars and the use of asphalt and concrete—there simply was much less filth about and consequently much less need for "spatterdashes". Although some elderly men continued to wear them into the 1950s as part of their business garb, since the Second World War the wearing of Spats seems to have been confined to places like the Royal Enclosure at Ascot or very fancy private weddings.





The wearing of spats is often used as symbolic shorthand to represent wealth, eccentricity, or both. In some cases, these depictions occur long after spats ceased to be a normal part of everyday menswear but those from before the 1950s are usually making an allusion to "ordinary" upper-class standards of deportment and class. An example of this is Irving Berlin's song "Puttin' on the Ritz", which mentions spats along with a variety of other elements of formal clothing that were common when it was written.

The wearing of spats by fictional characters such as Agatha Christie's Hercule Poirot, P. G. Wodehouse's Bertie Wooster, Lord Peter Wimsey and Jean de Brunhoff's Babar the Elephant for example is mostly intended to underline the conventional nature of the characters involved. They are elegantly turned-out prosperous gentlemen of the period; it would be odd if they did not wear spats.

Rich Uncle Pennybags, the iconic man from the Monopoly board game, and Walt Disney's Scrooge McDuck are slightly more satirical, alluding to someone undeniably adept but possibly a bit stuck in the past. This is very similar to the obsessed scientist or absent-minded professor.

In a similar vein, in the film Some Like It Hot (made in the 1950s but set in the 1920s), the mob boss is called "Spats" Colombo, because he regularly wears spats, thus providing an ironic contrast between his aspirational gentility and his actual thuggish behavior. Similarly The Penguin from Batman is drawn wearing spats along with a suit with tails and in Who Framed Roger Rabbit Toon Patrol the chief weasel Smart Ass, also wears spats (probably a direct allusion to Spats Colombo).

Spats seem inappropriate on these creatures because they patently lack the genteel qualities that the presence of spats suggests. Together with white gloves and a monocle, spats are part of the symbolic shorthand to represent wealth, eccentricity, or both.

This is connected with the wearing of spats as a symbol of a drop in class. Here a man is trying to retain status in the face of declining circumstances; Charlie Chaplin's "little tramp" is an example of this as are several of W. C. Fields's characters, Burlington Bertie and Bustopher Jones from Old Possum's Book of Practical Cats by T. S. Eliot.

The Victorian Button Boots / VIDEO:How to button up Victorian boots

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“High button boots were the dominant boot style for men and women through the end of the century. In the 1880s, James Morley began production of high button boots with a new sewing machine attachment that more securely stitched the buttons. The making of one pair of boots from start to finish could be accomplished in 15 minutes. Boots featured between 12-20 buttons depending on individual style and taste, and either a scalloped design around the button hole or a simple and plain lap. As the style continued into the 1890s, actresses and dashing women favored the high button boot for it’s fashionable method of hiding the ankle while hinting at the leg. The iconic Gibson Girl is shown wearing high button boots in the Edwardian style after 1900.


Because so many tiny buttons were on the boots, the button hook was invented. At first, they were a luxury item, but as they became more common they were viewed as a regular dressing accessory, much like a hairbrush and mirror. Button boots were considered more secure than laced boots because they didn’t come unlaced or loosen with wear through the day. Certainly there were many other styles of boots available for men and women, but just a quick browse through an antique ladies’ magazine will reveal that the high button boot was considered the most fashionable, the most modest, and the most necessary type of boot for ladies to wear. Men were encouraged to own a pair of laced shoes for bad weather, a pair of Oxfords for the summer and a pair of button up boots for all other occasions.

After the turn of the century, the high button boot lingered until World War 1. In 1914, rationing of leather and other goods necessary pushed the boots to the side and frugality took hold. The rise of hemlines and the flapper fashion demanded new shoe styles and the Mary Jane and T-strap styles took hold. In America, President Franklin Roosevelt in 1933 announced that high button shoes would no longer be indexed on the Bureau of Labor Statistics charts. While they had waned for many years, the high button boot was officially “over” after a good 30+ year run of dominating shoe fashions.”


"The Victorians certainly loved buttons. They'd use them everywhere. On their boots, on their gloves, on their corsets, on their jackets... It would take a woman hours to hook them all on her own. The solution? Button hooks. They came in all shapes and sizes. Some were as long as a foot to prevent the wearer from bending down when fastening buttons, while others were as small as a finger and could easily be carried around in a purse and used whenever it was necessary.

Button hooks could be elaborate, made of gold or silver and decorated with jewels, or simple and plain. But they all worked the same. Button hooks have a "hook" (obviously!) made from a loop of wire. The wearer would thread this hook through the button hole and grab the button with it. Then, she'd pull the button hook, with the button safely secured, through the hole, pull the hook free and start the whole process again with the next button. These hooks made dressing easier and faster for decades, before they started to go out of use after World War I. Nowadays they are found mostly in antique shops."

Daisy, Princess of Pless

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Daisy, Princess of Pless
Daisy, Princess of Pless (Mary Theresa Olivia; née Cornwallis-West; 28 June 1873 – 29 June 1943), was a noted society beauty in the Edwardian period, and a member of one of the wealthiest European noble families. Daisy and her husband Hans Heinrich XV were the owners of large estates and coal mines in Silesia (now in Poland) which brought the Hochbergs enormous fortune. Her extravagant lifestyle coupled with disastrous events and political and family scandals were tasty morsels for the international press.

Born Mary Theresa Olivia Cornwallis-West at Ruthin Castle in Denbighshire, Wales, she was the daughter of Col. William Cornwallis-West (1835–1917) and his wife, Mary "Patsy" FitzPatrick (1856–1920).[1] Her father, born William West, was a great-grandson of John West, 2nd Earl De La Warr. Her mother was a daughter of Reverend Frederick FitzPatrick and Lady Olivia Taylour, herself daughter of the 2nd Marquess of Headfort.


Memorial to Daisy in Pszczyna, Poland
During her marriage, Daisy, known in German as the Fürstin von Pless, became a social reformer and militated for peace with her friends William II, German Emperor and King Edward VII of the United Kingdom. During World War I she served as a nurse.

After her divorce at Berlin on 12 December 1922 she published a series of memoirs that were widely read in the United Kingdom, the United States, and, in the German language, on Continental Europe.

Hans Heinrich married as his second wife, at London on 25 January 1925, Clotilde de Silva y González de Candamo (1898–1978). This marriage produced two children, and was annulled in 1934. Subsequently Clotilde married her stepson, Bolko, and was the mother of Daisy's and Hans Heinrich's only grandchildren.

Daisy's brother George in 1900 married Jennie Churchill, the mother of Winston Churchill, as his first wife, and after their divorce married in 1914 Mrs. Patrick Campbell, the actress, as his second. Her sister, Constance, married in 1901 Hugh Grosvenor, 2nd Duke of Westminster, and after their divorce she married in 1920 James FitzPatrick Lewes.

On 8 December 1891, in London, she married Hans Heinrich XV, Prince of Pless, Count of Hochberg, Baron of Fürstenstein (1861–1938), one of the wealthiest heirs in the German Empire, becoming châtelaine of Fürstenstein Castle and Pless Castle in Silesia.

The couple had four children:

-Daughter (25 February 1893 – 11 March 1893).
-Hans Heinrich XVII William Albert Edward (2 February 1900 – 26 January 1984), Prince of Pless, Count von Hochberg and Baron of Fürstenstein. Married twice but had no issue.
-Alexander Frederick William George Conrad Ernest Maximilian (1 February 1905 – 22 February 1984), Prince of Pless, Count von Hochberg and Baron of Fürstenstein. Unmarried and childless.
-Bolko Conrad Frederick (23 September 1910 – 22 June 1936), who later caused an scandal by marrying his stepmother Clotilde de Silva y Gonzáles de Candamo (Hans Heinrich XV's second wife).
The Princess maintained her links with English society, appearing with her children in Country Life magazine.

The Princess of Pless was a Dame of the Order of Theresa of Bavaria and of the Order of Isabella the Catholic of Spain, and was awarded the German Red Cross Decoration.

Daisy, Princess of Pless, died in 1943 in relative poverty at Waldenburg, today Wałbrzych, Poland.

The Secret of the Necklace
The married couple's residency was a Książ Castle in Silesia. However, Daisy didn't like this place, she preferred another castle which belonged to them – Pszczyna.
She received a pearl necklace from her husband who knew of her weakness for beautiful jewelry. It was 6.7 meters (22 feet) long and one of the most expensive necklaces in the world. Legend says however, that the pearls were cursed by the pearl diver who died while collecting them.
Daisy wore this elaborate necklace during official meetings. When she appeared with this overwhelming piece of jewelry in London, she became a sensation. Daisy liked the life of a public person and she maintained her links with English society, appearing with her children in Country Life magazine.
The pearls became a symbol of the best period in her life. Nevertheless, after her death, people started to believe that they were the reason for many troubles in her life.




The new Crockett & Jones website

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The new Crockett & Jones website is now live. We have designed and developed the new site with our customers in mind, offering in-depth and interesting information coupled with rich videography and photography. Authenticity and transparency runs through every page, and we hope you enjoy discovering all of the new features.


THE HOME OF FINE ENGLISH SHOES
Northampton, situated in the heart of England, is a town renowned for its shoe industry – the history of which goes back hundreds of years.

Cordwainers (a medieval term for shoemakers) were first attracted to the county of Northamptonshire because of the area’s thriving tanning industry. Every village and town within the county had its own cordwainers, the number of whom would continue to grow throughout the middle ages.

By 1642, the reputation of Northampton town had grown so much that 13 shoemakers were commissioned to produce 600 pairs of boots and 4000 pairs of shoes for England’s army going to Ireland. The order was fulfilled and it was now known that the town possessed the ability to produce footwear on a large scale.

The industry continued to flourish, propelled by previous successes, arguably in line with necessities of war. The town was called upon to produce army boots for multiple wars from the English Civil War to the Boer War centuries later. Demand for Northampton shoes became so strong that by the year 1841 there were 1,821 shoe makers in the town.

Machinery would soon follow enabling footwear to be produced on an industrial scale.

FIRST GENERATION
Crockett & Jones was established in 1879 by two brothers in law, James Crockett & Charles Jones.

James was raised by his grandfather Henry Marshall, who was a boot and shoe manufacturer in Northampton. James left school at the age of 10 to work as an errand boy before becoming an apprentice clicker. He would go on to work as a shoe maker in Worcester, London and Birmingham.

Charles, meanwhile, was from a long line (at least 3 generations) of respectable shoemakers in Northamptonshire, and was himself a clicker by trade. He married James’ younger sister, Annie Marshall – a shoe fitter, in 1873.

Six years after this marriage, James and Charles decided to go into business together but they lacked the necessary funds to open a factory.

To overcome this, they applied for, and were granted, a sum of £100 each from the Thomas White Trust which was established to ‘encourage young men of good character in the towns of Northampton and Coventry to set up business on their own’.

The first Crockett & Jones factory was a small building on Exeter Road, Northampton which housed the initial 20 employees. Family was crucial from the start as the firm employed two of Charles’ brothers, his sister and his wife.

Leathers were cut at the factory before being distributed to out-workers, who would take the parts home, complete their process and then return all components to the factory, where the shoes or boots could be completed.

Business flourished and production needed to expand, so in the early 1880s Crockett & Jones moved into premises on Carey Street allowing more and more work to be done inside the factory.

Here they would install the latest machinery invented by Charles Goodyear from the USA for stitching the upper and insole to a welt. This made the process much easier and faster whilst also providing a superior construction. It would be known as Goodyear-welting.

SECOND GENERATION
With the arrival of the 1890s came the 2nd generation of family to join the business; Harry Crockett, Fred Crockett and Frank Jones – sons of James and Charles respectively.

James Crockett and Charles Jones again recognised the need to find a larger factory for continued expansion of the business. By 1891 they had relocated to a new factory in Magee Street, where the company continues to produce footwear to this day.

Growth continued and although the majority of the shoes were sold in the home market, the company was beginning to develop an important export market by ‘following the flag’ through the British Empire.

The continued success meant the relatively new factory was soon reaching its production capacity.

So, in 1910, a 5-storey factory expansion commenced that was the first steel structured building in Northampton. It benefited from a huge proportion of glass to give superb natural lighting for production – an asset which is still integral for the workforce.

Crockett & Jones now had an established reputation as one of the best shoe makers in the country and in 1911 were awarded the Diploma of Honour at the International Manufacturing Exhibition in Turin for their footwear designs.

In the same year as this success, James’ youngest son Clifden Crockett joined the company, followed a year later by Percy Jones, Charles’ youngest son.

The quality and reputation of Crockett & Jones footwear at this time had become so revered that the firm was asked to provide specially designed boots for an Antarctic expedition. They proved so successful that C&J was requested to produce boots a 2nd time for the Shackleton Endurance Expedition in 1914.

When the First World War broke out, both Clifden Crockett and Percy Jones were called upon to serve their country, and, in a sense, so was Crockett & Jones. The company manufactured boots for the army, with production increasing so that over 600,000 pairs were being made in a year.

Sadly, Clifden was killed in action in 1916 during the Battle of Pozieres Ridge aged just 22. Percy however was lucky enough to return to Crockett & Jones after the war, and would become a partner within 4 years.

1924 was a year of great pride for all at the company. Crockett & Jones was honoured with a visit from the future King George VI who paid great attention to the shoe making process on a tour around the factory, led by recently knighted Sir James Crockett.

THIRD GENERATION
In 1927 Gilbert Jones, son of Frank, joined Crockett & Jones. There were now 3 generations working together for the first time, truly cementing the status of Crockett & Jones as a family company.

The period after the First World War was one of consolidation for the UK as the home market was beginning to change, increasingly influenced by fashion. The demand for women’s shoes had grown over the years and was in fact so strong that ladies’ footwear would soon account for more than 60% of total production at Crockett & Jones.

As the company continued to grow, a second wing was added to the factory in 1935 to provide a new office block, showroom and in-stock department. The original front door was moved from Magee Street to Perry Street where it is still used as the main entrance today, retaining its impressive 1930s Art Deco design.

Soon, war would again rear its ugly head, and Crockett & Jones would be called upon once more to manufacture shoes and boots for the armed forces.

In fact, the company made over 1 million pairs over the course of the war, and, as many of the workforce left to fight, many retired men and married women returned to work as part of the war effort.

After the war, in 1946, Clifton Crockett, grandson of Sir James, joined the company. He would stay for 6 years before leaving in 1952, making him the last member of the Crockett family to work at Crockett & Jones.

A year later, in 1947, Richard Jones, son of Percy and grandson of founder Charles, joined the business after serving in the Royal Navy.

The post war era once again led to some interesting changes in market tastes in the UK with everchanging ‘fashions’. This, combined with the effects of war on the supply of materials and ability to export, meant Crockett & Jones had to reassess its position in the marketplace.

Throughout the 1950s the bulk of production was sold in the home market, although the overseas market had begun to expand again so that by 1962 around 18-19% of the total output was exported. By this time, production focus had returned more to producing men’s shoes.

Beginning in the 70s, times proved to be much harder for the Northampton shoe industry with increased competition from the global markets, predominantly in the form of cheaper imports. There still remained more than 100 small family firms making shoes in Northampton, a significant number but a huge reduction nonetheless from the early 1900s.

Ryder & Amies, outfitter to the University of Cambridge / VIDEO: Cambridge University - 1945 British Higher Education / Social Guidance /...

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Edward W. Amies (1862-1941)

Ryder & Amies, outfitter to the University of Cambridge for over 150 years, supporting the Cambridge Colleges and Clubs. Historically it was a gentleman’s tailoring and robe outfitters, established around 1850.

The business was founded by Joseph Ryder (1831-1900) and in 1896 Edward William Amies (1862-1941) took on a partnership with Mr Ryder. Edward William Amies was a founder member of the Cambridge Chamber of Commerce and held the office of Mayor of Cambridge during the period 1927-1928. Joseph Ryders grandsons did not have any children, thus ended the Ryders’ link with the business. Today it is still run by descendants of the Amies family.

The Amies family continued to ensure the business flourished and moved along with the modern day. Gordon Amies (1914-2002), grandson of the original partner Edward Amies, and his wife Wilhelmina James Amies (1914-2006) became partners and took over the business.

Gordon’s daughter Carol Amies (1940-2005), and her husband, Ivan Chamberlain (1932-2003) later took on the business. Today the business is run by the fifth generation of the Amies family, Carol’s sons Tony & Steven, and has grown from a simple tailors shop into the University Store it is today, serving students and tourists alike.
















JACKIE | OFFICIAL TRAILER | FOX Searchlight

Jackie / The Film / Stéphane Boudin / Jacqueline Kennedy: designing Camelot

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Jackie is a 2016 biographical drama film directed by Pablo Larraín and written by Noah Oppenheim. The film stars Natalie Portman as Jackie Kennedy, following her life after the 1963 assassination of her husband John F. Kennedy. Peter Sarsgaard, Greta Gerwig, Billy Crudup and John Hurt also star; it was Hurt's final film released before his death in January 2017.

The film was selected to compete for the Golden Lion at the 73rd Venice International Film Festival, and was released in the United States on December 2, 2016, by Fox Searchlight Pictures to universal acclaim and has been nominated for three Oscars at the 89th Academy Awards: Best Actress (Portman), Best Original Score and Best Costume Design.

The film's script, written by Noah Oppenheim, was originally conceived as an HBO miniseries, covering the "four days between John F. Kennedy's assassination and his burial, showing Jackie at both her most vulnerable and her most graceful". Steven Spielberg was originally set to produce the series,[9] and later left the project.

Pablo Larraín, not typically inclined to directing biopics, was initially hesitant to direct Jackie when he was offered the opportunity. He stated that although he did not have any history or knowledge about John F. Kennedy's assassination, he connected with Jacqueline Kennedy.[11] Prior to directing Jackie, he had only made films centering on male protagonists rather than women. Thus, Jackie is the first film that he could approach from a woman's perspective. He grew more interested in Kennedy after learning more about her. To him, her life after the assassination "had all the elements that you need for a movie: rage, curiosity, and love."[11] Oppenheim said that the screenplay itself did not change much over the long development process, revealing, "When Pablo Larraín boarded the project, he had ideas. I wrote two or three more drafts with his guidance, but over a very condensed period of time. So while it took six years from first draft to completion, most of those six years were not active years."

Pre-production
In April 2010, it was announced that Rachel Weisz would star in the titular role, with Darren Aronofsky set to direct and produce the film, from Oppenheim's script. However, both Weisz and Aronofsky dropped out after they ended their romantic relationship. The same year, Steven Spielberg showed interest in helming the film. Then in September 2012, without a director, Fox Searchlight Pictures started courting Natalie Portman to star in the film as Jacqueline "Jackie" Kennedy, hoping that her participation would bring back Aronofsky, although Portman's involvement was contingent on which director signed on. At the 65th Berlin International Film Festival in February 2015, Pablo Larraín was approached by Aronofsky to direct the film, after he was impressed by the former's The Club. Larraín was skeptical, and asked Aronofsky why he wanted a Chilean man who was not fond of biopics to helm the film. In May 2015, Portman was confirmed to star in the film. That same month, Larraín was hired to direct the film, with Aronofsky working as a producer.. By the 2015 Cannes Film Festival, the film was officially a go. The rest of the cast – led by Greta Gerwig and Peter Sarsgaard – were announced between May and October of the same year.

Casting

Natalie Portman undertook immense research of Kennedy in preparation for her role.
Natalie Portman was approached to star in the film in September 2012, but her casting was not confirmed until May 2015. In preparation for the role, Portman studied Jackie Kennedy extensively by watching videos of her, repeatedly watching White House tour recordings, reading books, and listening to audiotapes of her interviews. She also read around twenty of her "pulpy" biographies, which she did not consider high literature.[24] Her primary source was the seven-part eight-and-a-half-hour Life magazine interview conducted in the early part of 1964, by Arthur M. Schlesinger Jr. with Kennedy. One of three interviews she gave following her husband’s assassination, it was kept private throughout her life.

Portman said she was intimidated at first, and her initial knowledge of Kennedy was just a "superficial understanding of [Kennedy] as a fashion plate." But through playing her in the film, Portman gained a deeper understanding of the former first lady. While doing research, she found out that Kennedy had two personas in front of different people – a debutante in public but feisty behind closed doors. "When she was doing interviews, [her voice] was a lot more girly and soft, and then when you hear her talking to Schlesinger at home, you hear the ice in the glass clinking and the voice is a little deeper and her wit comes out more, so you get this real sense of the two sides."

Mimicking Jackie's ranging vocals was pivotal for Portman, since Aronofsky said "conquering Kennedy's vocals was the key to the rest of the film." Portman trained with dialect coach Tanya Blumstein, and in the beginning, had difficulty with copying Kennedy's vocals, especially on the first day of set when her initial delivery was too much. She has also said that the costumes helped her to get into character.

Portman is one of many actors to have portrayed Kennedy in cinema and on television, following Divine, Jaclyn Smith, Sarah Michelle Gellar, Roma Downey, Jill Hennessy, Joanne Whalley, Kat Steffens, Jacqueline Bisset, Jeanne Tripplehorn, Parker Posey, Blair Brown, Katie Holmes, Victoria Beckham, Ginnifer Goodwin, and Minka Kelly.

Principal photography on the film began in December 2015 in a Paris-area studio, where most of the interior scenes were shot.[31] Production designer Rabasse and set decorator Melery oversaw replication of the White House rooms needed for filming in the studio just outside Paris.[32] In February 2016, production moved to downtown Washington, D.C., where JFK's funeral procession scenes were filmed.

The film had its world premiere at the Venice Film Festival on September 7, 2016.[35][36] It also screened at the Toronto International Film Festival on September 11, 2016.[37][38] Shortly after, Fox Searchlight Pictures acquired U.S distribution rights to the film, and set it for a December 9, 2016, release. It was later moved up a week to December 2.

Jackie received very positive reviews from critics, with Portman's performance being widely lauded. On review aggregator website Rotten Tomatoes, the film has an approval rating of 90%, based on 250 reviews, with an average rating of 8/10. The site's critical consensus reads, "Jackie offers an alluring peek into a beloved American public figure's private world -- and an enthralling starring performance from Natalie Portman in the bargain." On Metacritic, which assigns a normalized rating, the film holds a score of 81 out of 100, based on 52 reviews, indicating "universal acclaim".

David Rooney of The Hollywood Reporter gave the film a highly positive review, writing that the film is "Extraordinary in its piercing intimacy and lacerating in its sorrow." Guy Lodge of Variety also gave the film a highly positive review, writing that "Chilean helmer Pablo Larraín makes an extraordinary English-lingo debut with this daring, many-leveled portrait of history's favorite First Lady."

The Dallas Morning News commentator Anna Parks criticized the film's negative portrayal of Jackie's relationship with Lyndon and Lady Bird Johnson. She noted that letters, as well as a taped phone conversation between President Johnson and Jackie, which occurred on December 2, 1963, showed that the former first lady and the Johnsons were cooperating well.




Jackie review – a symphony of grief at the White House
4 / 5 stars
Natalie Portman is extraordinary as JFK’s widow, but the real star of Pablo Larraín’s kaleidoscopic film is Mica Levi’s score

Mark Kermode Observer film critic
@KermodeMovie
Sunday 22 January 2017 09.00 GMT

In its 6 December 1963 issue, Life magazine published “An Epilogue” for John F Kennedy which enshrined an idea that would come to define his legacy. Citing the Lerner and Loewe musical beloved by her husband, Jackie Kennedy told reporter Theodore H White: “There’ll be great presidents again… but there’ll never be another Camelot.” It was an idea that stuck, effectively immortalising JFK’s all-too-brief tenure in the White House as a lost golden age. “Don’t let it be forgot,” Jackie kept repeating, “that there once was a spot, for one brief shining moment that was known as Camelot.”

A fictionalised version of this encounter provides the framework for the Chilean director Pablo Larraín’s Jackie, a dizzying kaleidoscope of reconstruction, reportage and reinvention that mirrors its heroine’s fragmented state of mind in the days surrounding JFK’s death. At its heart is an extraordinary performance by Natalie Portman as the icon caught in the eye of a violent storm of grief, politics and media management. With her husband’s blood hardly dry on her clothes (scenes of Jackie removing grotesquely stained hosiery have a horrible intimacy), the former first lady must pack her bags, comfort her children and stage-manage a funeral to rival that of Abraham Lincoln.

“This will be your version of what happened,” clarifies Billy Crudup’s unnamed journalist when Portman’s Jackie reminds him that she will be “editing this conversation”. Yet as we slip back and forth in time, from the awful events in Dallas to the aftermath in the White House and the arcane pageantry of JFK’s funeral, Jackie vacillates between candour and control (“Don’t think for one second I’m going to let you publish that”), while Larraín gradually reveals the woman behind the mask.

Having brilliantly melded new and archival footage in the political drama No, and played with resonant biographical fact and fiction in his forthcoming Neruda, Larraín seems perfectly placed to direct Noah Oppenheim’s script, which was variously courted by Steven Spielberg and Darren Aronofsky (the latter now produces). Restaging and interweaving scenes from the 1962 TV documentary A Tour of the White House With Mrs John F Kennedy, Larraín presents Jackie as the first lady of the televisual age, someone who understood the moving image as well as the printed word and became master of both.

In stark contrast to familiar, long-lens news footage, cinematographer Stéphane Fontaine, whose credits include A Prophet and Rust and Bone, keeps his 16mm cameras painfully close to Portman throughout. From the matching vanity mirror shots of Jackie before and after the assassination, to the tight-focus, handheld views of her dazed face as she stares into an uncertain future, she dominates the 1.66:1 frame, isolated even in company.

With her breathy vowels and strangely stagey expressions, I confess that Portman’s mannered performance seemed at first too arch to be engaging. Only on second viewing did I realise that her Jackie was not alienating but alienated. Scenes of her wandering the cavernous rooms and corridors of the White House (brilliantly recreated by production designer Jean Rabasse) reminded me of the Overlook hotel from The Shining. Whatever else it may be, this is a ghost story; no wonder John Hurt’s world-weary priest becomes the one person to whom Jackie can express her deepest fears. There’s a creepy connection, too, with Larraín’s bitingly sardonic The Club, as the whispering voices with which Jackie contends in Washington seem to echo the cloistered sins of Chile’s Catholic church.

Pulling all these disparate elements together is Under the Skin composer Mica Levi’s magnificent score. From the saddening glissando strings of the opening theme, with its falling invocations of death and discord, Levi provides the unifying emotional glue for Larraín’s deliberately shattered film. There’s a touch of Jonny Greenwood’s deeply unsettling music for There Will Be Blood about the recurrent swooning motif that Levi deploys (not to mention a funereal hint of Handel), while eerie silences echoing between strong but fragile chords poignantly recall Jackie’s isolation. Elsewhere, the drums of war scratch at the edges of plaintive piano pieces, while jazzier sounds evoke the sunny 60s optimism that was shattered in the wake of the Dealey Plaza shooting.

Solid supporting turns from the likes of Peter Sarsgaard and Richard E Grant add background colour, while Greta Gerwig’s social secretary, Nancy Tuckerman, lends a much-needed touch of warmth as Arthurian optimism is ominously boxed away to make room for a more abrasive incoming administration. As for Portman, she has earned deserved plaudits and nominations for her title role in a movie that rests heavily upon her shoulders. Yet for me, it is Mica Levi who unites the film’s shattered pieces, becoming the real heroine of this story.


Madeline Fontaine winner of Best Costume design BAFTA / Jackie

Stéphane Boudin / Jacqueline Kennedy: designing Camelot


Stéphane Boudin (1888–1967) was a French interior designer and a president of Maison Jansen, the influential Paris-based interior decorating firm.

Boudin is best known for being asked by U.S. First Lady Jacqueline Kennedy to join American antiques expert Henry Francis du Pont of the Winterthur Museum and interior designer Sister Parish in the renovation and restoration of the White House from 1961 to 1963. After Boudin Impressed the first lady with his initial work in the Red and Blue rooms, Mrs. Kennedy gave him increasing control of the redecoration project, to the consternation of du Pont and Parish.

Jansen is known for designing interiors for Elsie de Wolfe, the royal families of Belgium and Iran, the German Reichsbank during the period of National Socialism, and Leeds Castle in Kent for its last owner, Lady Olive Baillie. He also decorated Les Ormes, the Washington, D.C. home of Perle Mesta, the U.S. ambassador to Luxembourg, and her sister, Marguerite Tyson; the house and its furnishings eventually were purchased by Lyndon B. Johnson. The Johnsons hired Genevieve Hendricks to integrate a touch of Texas into the Boudin decor because, as Time quoted Johnson as saying, "Every time somebody calls it a château, I lose 50,000 votes back in Texas."



 Stephane Boudin
By Innis Desborough

Stephane Boudin, a Parisian interior designer is well-known as the President of what is considered by many to be the world's leading interior decorating firm in the 20th century - Maison Jansen. One of Boudin's greatest projects as an interior designer was the restoration and renovation of the White House in the early 1960s.

Stephane Boudin was born in 1880. His father - Alexandre Boudin was a manufacturer of passementerie and trimming. It was while Stphane was working at his father's textile trimming business in the 1920s, that he was approached by Jean-Henri Jansen, the founder of Maison Jansen. In 1925, Boudin got an assistant by the name of Monsieur Henry Samuel. Following Jansen's death in 1928, Stphane Boudin along with Gaston Schwartz, took control over all Maison Jansen's interior design and decoration projects. While Schwartz contributed aspects of modernism, Boudin was the traditionalist.

Boudin helped the firm win several new interior design projects by giving importance to historical accuracy and detail, and through his adeptness at creating spaces that were both dramatic and unforgettable. He efficiently schooled the firm's young protgs, reviewed their work on a regular basis, and arranged trips for them to Europe.

The most significant order which Boudin received was most probably the one he got prior to his retirement - the order from Jacqueline Kennedy to work on the interiors of the White House (1961-63). Jayne Wrightsman - the woman who introduced Boudin to Jackie - was personally tutored by Boudin in French decorative arts.

Jacqueline wanted a touch of the international to be added to the American look of the White House, and Boudin was entrusted with the task of making this desire a reality. In addition, Boudin and Henry du Pont were enlisted with the duty of getting antiques, and of lending sophistication and thoroughness to the dcor.

Boudin mainly focused on the American Empire style when furnishing the Red Room of the White House. He included pieces made by Charles-Honor Lannuier, a cabinetmaker. In the case of the Blue Room, Boudin laid emphasis on furnishing it with furniture of the French empire style. The style for the Green Room, namely the Federal Style, was chosen by Henry du Pont, influenced by Boudin. Boudin also introduced changes in the dcor of the Oval Office and the Cabinet Room.

Another important interior design project which Boudin was entrusted with in his lifetime was to completely change the famous Leeds castle into a stylish country residence. It was the last private owner of the castle - Lady Baillie who entrusted him with this task.

Stephane Boudin retired in his seventies and passed away in 1967 - his successor was Pierre Delbe.

Following in the footsteps of the pioneers of interior decorating are skilled and highly qualified interior stylists and designers who often use art created with Watercolour Paper and Paints as part of a decorative scheme.



 Designing Camelot: The Kennedy White House Restoration
James A. Abbott, Elaine M. Rice
John Wiley and Sons, 25 sep. 1997 - 260 pagina's
"Perhaps one of the finest commentaries on American decorative arts ever published." William Seale White House Historian Designing Camelot The Kennedy White House Restoration James A. Abbott - Elaine M. Rice "From the moment President John F. Kennedy took the oath of office, his administration was characterized as having style," write authors James Abbott and Elaine Rice in their exquisite new book Designing Camelot. Nowhere was the "Kennedy style" more evident than in the rooms in which the young President and his wife Jacqueline lived and worked between 1961 and 1963, as America witnessed the transformation of its premier residence from "home of the President" to "house-museum." Designing Camelot is the first book to document the restoration of the White House by Jacqueline Kennedy and her advisors--the most significant and extensive to date. Under the watchful eye of the Fine Arts Committee for the White House, chaired by famed antiquarian Henry Francis du Pont and, unbeknownst to the American public, French interior designer Stephane Boudin and his firm Jansen, the White House became a model for historic houses all over America. Many of the country's governors' mansions were renovated as state First Ladies strove to emulate the efforts of a sophisticated Jacqueline Kennedy. Through rich anecdotes and a stunning collection of four-color and black and white photographs, Designing Camelot illustrates the rich interiors of the White House, while at the same time exploring the restoration as an extension of the Kennedy/Camelot legacy. Individual chapters examine the White House room by room inviting a look at not only familiar public places like the Oval Office and West Wing, but the Kennedys' private quarters as well. Kennedy enthusiasts, interior designers, architects, collectors, history buffs, preservationists, museum professionals, and White House watchers alike will enjoy this intimate look at the taste and style of Jacqueline Kennedy, the most watched First Lady of America, and the relationship between an extraordinary client and her designers. Far beyond the mere selection of furniture and fabrics, the renovation of the White House reflected the desire of the Kennedys--Jacqueline Kennedy in particular--to associate themselves with a grand historical past, and their efforts to enhance the entire atmosphere surrounding the Presidency. Designing Camelot captures this incredible era as never before, and offers a unique insight into the collective Kennedy mind and personality.







How Camelot Got Designed: Jackie Kennedy’s Visit to Winterthur
Jackie Kennedy’s Francophile tendencies and Stéphane Boudin’s role in the White House redecoration

Posted on September 21, 2011 in http://museumblog.winterthur.org
Maggie Lidz is Winterthur’s estate historian and curator of garden objects. She collects 1950s and ’60s interior design books and is especially interested in 20th-century flower arranging.

May 8, 1961, was a historic day at Winterthur. The museum’s founder, Henry Francis du Pont, had been tapped earlier by First Lady Jackie Kennedy to chair her committee to refurnish the White House, and she had come to the museum for lunch and a tour.

Among du Pont’s first acts as chair had been to appoint Winterthur curator John Sweeney to the committee. Sweeney’s fascinating memories of his role were recorded at Winterthur before his death in 2007. Among his most vivid recollections was leading Mrs. Kennedy on the tour of Winterthur that day in May.

The first lady’s visit was ostensibly private, but du Pont had a specific purpose in mind when he invited her. Sweeney remembered him saying, “I don’t know Mrs. Kennedy very well. Of course I have known her mother all her life, but I have a feeling that her real interest is in French things, and she does not believe that you can have a really swell house with American furniture. I wanted her to see that you can.”

Du Pont tried to limit the hoopla around the occasion and forbade photographers from accompanying them around Winterthur. Sweeney recalled one staffer lamenting, “Isn’t this something! A Public Relations person’s dream to have the most famous woman in the world coming to Winterthur, and I can’t do anything about it!”

Sweeney was a wide-eyed participant throughout the day. “[Mrs. Kennedy] came with an entourage, with the wife of a Senator from Oklahoma [Florence Mahoney], Jayne Wrightsman, and Mary Lasker, who was a sweetheart of a lady,” he said. “They arrived at the airport at New Castle, and H. F. went down to pick her up. They came back for lunch, and we had a little cocktail party first at the Pavilion (newly opened), and the Museum Trustees were all invited to meet her. H. F. felt he had to be polite to the Trustees. His general attitude was that she was coming for lunch, and he didn’t see any reason for there to be publicity about it or any excitement. You know the whole world was standing outside waiting to see her.

“We had a very nice lunch, and after lunch we went through the house and gardens, and then she stayed on for an early dinner with the du Ponts. They went right back to Washington after dinner. All sorts of stories about that day. I was 31 years old and she was 32. I mean we were kids playing house so to speak!”

Lunch (cold stuffed eggs, squab guinea, hot asparagus in butter, carrots, apple pie a la mode) began as an ordeal. “I was seated right next to Mrs. Kennedy, on her right,” said Sweeney. “I was quite shocked to know that I was going to be seated next to her. I thought, what in the world would I talk to her about? But Mr. du Pont said, ‘She is going to be on the committee with us, and you should get to know her.’ I remember talking a lot about her dog. I wouldn’t say it was a relaxed lunch for me, because, after all, [on my left was] Mrs. Copeland, the wife of the Chairman of the Board, so there I was squeezed between these two powerful ladies. We all survived.”

After lunch, Sweeney led a two-and-a-half-hour tour of the museum, hoping to counterbalance his guest’s overt Francophilia: “It was the way she looked at the world. She studied in Paris. She was at the Sorbonne when she was college age. That was generally her taste. She was definitely influenced by Mrs. Wrightsman who was a great collector of French furniture, and it was Mrs. Wrightsman who recommended [Stéphane] Boudin to her when she was working on her house in Georgetown before they ever were in the White House. I do remember she used French terms. She said ‘cheminee’ instead of ‘andirons’—thinking of French forms rather than American. Of course, the clue to the furnishings of the White House was the Monroe furniture, which was ordered in Paris by President Monroe and [was] the key to furnishings in the Blue Room.”










Leeds Castle

The last private owner of the castle was the Hon. Olive, Lady Baillie, a daughter of Almeric Paget, 1st Baron Queenborough, and his first wife, Pauline Payne Whitney, an American heiress. Lady Baillie bought the castle in 1926. She redecorated the interior, first working with the French architect and designer Armand-Albert Rateau (who also oversaw exterior alterations as well as adding interior features such as a 16th century-style carved-oak staircase) and then, later, with the Paris decorator Stéphane Boudin. During the early part of World War II Leeds was used as a hospital where Lady Baillie and her daughters hosted burned Commonwealth airmen as part of their recovery. Survivors remember the experience with fondness to this day. Upon her death in 1974, Lady Baillie left the castle to the Leeds Castle Foundation, a private charitable trust whose aim is to preserve the castle and grounds for the benefit of the public. The castle was opened to the public in 1976.














Sunday Images / Tartan in daily life

Tartan + Tweed

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Tartan and Tweed is a comprehensive look at the chequered history of tartan and tweed from their origins in the Scottish Highlands to their reinvention, growing and continued popularity and use in contemporary fashion design, music, art and film.

Both tweed and tartan are fabrics with a strong cultural identity and history. But they have been reinvented to create multiple meanings, particularly when used in street fashions and in haute couture to mimic or parody the aristocracy, and to act as a subversive symbol of rebellion. This lavishly illustrated book focuses on fashion over the last century whilst looking back at the journey these fabrics have made from traditional cloth to stylish fabrics. We follow the early popularity of tartan and tweed including the fabrics' connections from crofters and clans to aristocracy, and look at tweed's dramatic recovery during an economic crisis and its subsequent re-invention as desirable luxury fashion fabric.

The book explores the use of tartan and tweed in fashion in the collections of leading designers including Vivienne Westwood, Alexander McQueen and Chanel who have used these textiles in a fresh, subversive way, while also paying tribute to their history. Making use of first person sources, historic documents, paintings and fashion photographs, this is a complete overview of tartan and tweed in Scotland and beyond.


Edinburgh authors Caroline Young and Ann Martin with their new book. Photograph: Lisa Ferguson

Edinburgh authors unravel the myths behind tartan and tweed
JANE BRADLEY
Saturday 28 January 2017

Whether Bonnie Prince Charlie or Mary Queen of Scots ever really wore tartan and why CIA agents in the Cold War adopted tweed as their uniform are among the myths explored in a new book dedicated to Scotland’s national cloths.

Tartan + Tweed, by Edinburgh authors Caroline Young and Ann Martin and published next week, looks at the history and popularity of tartan and tweed – and debunks myth and romanticism around them.

The book examines fashion over the past century, charting the journey of both tweed and tartan from traditional cloth to stylish fabrics. It follows their use by crofters and clans to aristocracy and examines tweed’s dramatic recovery during an economic crisis and its subsequent reinvention as a luxury fashion fabric.

It also documents their use in contemporary fashion design, music, art and film.

Young said: “Tartan in particular not only defines a nation and lies at the heart of our identity, but is also a political fabric, with countless meanings attached.

“When Theresa May wore the Black Watch tartan suit to announce her plans for Brexit, what was the coded meaning behind it? Maybe it was a way of appeasing Scotland, or was the Black Watch tartan, traditionally a government tartan, a way of quashing rebellion?”

She added: “[Scotland] is often seen as a misty, romantic country stuck in the past, as shown in film and in advertising, and the TV series Outlander, and tartan serves as the imagery of this romantic depiction.

“While there is evidence of wearing tartan in Scotland in ancient times, and that plaid was the universal costume of Highlanders from the 16th century to the Battle of Culloden in 1746, the concept of clans having their own traditional tartan really only dates back to the 19th century.”


The book claims that despite Scotland’s famous associations with tartan, many well-known historical figures who have been depicted wearing the cloth, such as Mary Queen of Scots and Bonnie Prince Charlie, may not have done.

It says: “Mary Queen of Scots is another of Scotland’s figures where myth crossed into fact. There is no evidence that she wore tartan, particularly as she was a French Catholic woman who was more likely to have adopted crucifixes and fashionable ruffs.”

In fact, while tartan fabric has been around since at least AD230 – the Falkirk Tartan was found stuffed into a pot containing a collection of Roman coins dating back to then – its association with clans only goes back as far as the 19th century, when a romanticisation of Scotland’s history and the industrialisation of cloth led to the classification of clan tartans.

The book also looks at the decision for CIA spies to wear tweed throughout the Cold War – a revelation discovered in research for the 2012 film Argo.

It says: “Production crew on Argo spoke to the real-life spy Tony Mendez, to ask him what he wore during his covert trip to Iran. He told them it was a Harris Tweed jacket and slacks, with Harris Tweed acting as a subtle means of indicating their work in covert international operations against Russia.”



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