Two-part dress consisting of bodice and skirt

Some gowns exude allure as a matter of course. Elise van Ittersum (1851-1936), Queen Emma's lady-in-waiting, would not have wanted to take any chances when, according to tradition, she put on this 'dressy' gown in 1892 for a reception at Palace Soestdijk. The subtle decoration of flower garlands and bows in gold thread, sequins, velvet ribbons and pearls on warm yellow silk satin was created by the Belgian couturier Madame van der Taelen, who ran studios in Brussels and Ostend. Her fellow lady-in-waiting Henriëtte van der Poll was also one of her clients, as shown by a turquoise velvet evening gown with gold lace from 1905 (inv. no. 10726/001-002). As a descendant of an old Overijsselian baroness family, the cheerful and very social Elise knew exactly 'how it was done'. In those days, dress code at court led to a constant state of excitement: in all conceivable and unthinkable circumstances, one had to be dressed to the nines. This time, Elise will undoubtedly have made a successful entrance in this elegant design that still exudes the quality of craftsmanship, despite its inevitable declining condition. Because of the weighted silk, this gown is too fragile to be restored: the gaps (cracks) in the fabric will only increase. Unfortunately this is an irreversible process, which even under ideal circumstances will continue to deteriorate. However, the craftsmanship and quality remain unmistakable. Some gowns exude allure as a matter of course. Elise van Ittersum (1851-1936), Queen Emma's lady-in-waiting, would not have wanted to take any chances when, according to tradition, she put on this 'dressy' gown in 1892 for a reception at Palace Soestdijk. The subtle decoration of flower garlands and bows in gold thread, sequins, velvet ribbons and pearls on warm yellow silk satin was created by the Belgian couturier Madame van der Taelen, who ran studios in Brussels and Ostend. Her fellow lady-in-waiting Henriëtte van der Poll was also one of her clients, as shown by a turquoise velvet evening gown with gold lace from 1905 in room 2. As a descendant of an old Overijsselian baronial family, the cheerful and very social Elise knew exactly 'how it was done'. In those days, dress code at court led to a constant state of excitement: in all conceivable and unthinkable circumstances, one had to be dressed to the nines. This time, Elise will undoubtedly have made a successful entrance in this elegant design that still radiates the quality of craftsmanship, despite its inev