Full-length sleeveless dress of cream silk taffeta with black chine spots; hat of cream plaited nylon 'straw'

Evening dress in cream and black spotted taffeta.
Dress in full-length, and sleeveless. It has a large lapel collar, which has a deep pleated ruffle of black and cream chiffon, the dress fastens on the front left hand side with self-covered buttons, hidden in folds of the skirt. The skirt has a double layer at the front; with the top layer folded and stitched at the waist. There is a pocket under right top layer of skirt.
Stitched to front left of collar is a pink velvet rose with black nylon leaves (removed from T.177&A-1974 by Lady Trevor-Roper).

Woven label, navy on white.

T.174A-1974. Belt: narrow matching belt with rectangular buckle, round at edges.

T.174B-1974. Hat: in cream plaited nylon ‘straw’. It has a small square crown, with a narrow brim at back, widening out at sides and front. It has a large petersham bow on the right of the crown. The hat is incorrectly numbered and should match outfit T.176-1974.

Woven label, black on white.

Given by Lady Alexandra Trevor-Roper (later Lady Dacre)

This dress was made for Lady Alexandra in 1950, and given to the museum as part of the Beaton Collection in 1971. In the Beaton Registered Files (part F/5), Lady Alexandra writes (Nov 13 1971) that Fath altered the dress during her pregnancy and then again after the birth of her son. It is possible that this dress was an an original 'model' dress, as Lady Alexandra was exactly the same size as some of Fath's house models, she would sometimes purchase these original versions to wear, and she writes:
"the dresses were not altered in any way except that they could be let out".

In the same letter, she recalls that the dress was originally adorned with a large silk rose, which she subsequently lost. She writes that she removed a rose from another of her dresses, T.177-1974, and placed it with this dress.

The hat, which was incorrectly numbered as part of this ensemble, was worn with T.176-1974 as per Lady Alexandra's (5 Nov 1971) letter in the Beaton registered papers which contextualises is with the blue white-spot day dress and not this white blue/black-spot evening dress:
"A box of Jacques Fath day dresses - 1. mauve crepe, 2. yellow cotton with sash, 3. blue and white spot foulard, 4. green and black print on white... I have also found verious hats which I am also leaving. The large white Jacques Fath (boat shaped) was the one I wore with the blue and white spot dress. It has become yellow with age but it might be of interest to have the shape copied to show it with the dress."

Lady Trevor-Roper favoured designs by Jacques Fath for her wardrobe, and contributed the vast proportion of the V&A's Fath collection.

This dress features the pleating and draping style characteristic of Fath's work. He would often design dresses by draping and pinning the fabric directly onto a mannequin.

Lady Alexandra Howard-Johnston (1907-97) was the wife of the Naval Attaché to Paris at the end of the 1940s. She required an extensive wardrobe for the many formal dinners and state functions that she had to attend.

Lady Alexandra dressed exclusively at the house of Jacques Fath (1912-54), and commissioned this dress from him in 1950. In 1971, when she donated many of her Fath dresses and hats to the V&A, she told Cecil Beaton: 'I can date the grey dress and the white taffeta evening dress exactly because I had them when I was expecting my youngest child. He is now exactly 21. The dresses were not altered in any way except that they could be let out. Afterwards (my son was born at the end of Sept 1950) they were altered by Fath to fit my normal size'.

Couture garments were expected to last many years due to the quality of their materials and their skilled construction. Part of the service provided by the couturier for his client was a personalised alteration and repair service. It was common for couture clients to take suits back to be relined after years of wear, or to have hems taken up with changing fashions.

T.174&A-1974