An exhibition at Buckingham Palace is currently showcasing an extensive collection of garments and accessories that trace the wardrobe of Queen Elizabeth II over her seven-decade reign. Spanning from her childhood attire to robes worn in her final years, the exhibit offers an unprecedented look at more than 300 pieces that helped shape the late monarch’s public image.

The display reveals how clothing played a significant role in the queen’s expression of monarchy, functioning not only as attire but also as a form of statecraft and diplomacy. Elizabeth’s hallmark style—characterized by vibrant coats matched with hats and practical low-heeled shoes—became an essential “uniform” for public appearances, reinforcing her role and presence in official duties.

A recent book accompanying the exhibition, “Dressing the Queen,” written by costume historian Kate Stradsin of Falmouth University, reframes the narrative around the queen’s garments by focusing on the skilled laborers behind them rather than the monarch herself. Stradsin highlights the contributions of the many artisans—seamstresses, tailors, embroiderers, weavers, and others—who crafted the individual pieces, tracing this tradition back to Queen Victoria’s era.

Drawing on archival research, the book explores the lives and work of these largely anonymous professionals who created everything from imperial robes and tiaras to riding habits and trench coats. Stradsin emphasizes the complex and demanding nature of their craft, as well as the often difficult working conditions they endured. Where records are scarce, she speculates thoughtfully on their experiences, imagining moments of personal connection to the royal events their handiwork adorned.

For example, the book contemplates the feelings of silk-weaver George Doré as he completed the fabric for Queen Alexandra’s coronation robe in 1902, or the daily realities faced by young workers like Ethel Oatham, who in 1911 was involved in producing fine dress trimmings. Another subject is Miss Reid, a rare female employee amid male tailors responsible for creating the Balmoral tartan favored by Queen Victoria and Prince Albert.

Stradsin’s study brings into focus the contrast between the immense visibility and historical prominence of the garments and the relative invisibility of those who made them. She notes that while the individual names of many artisans may have been lost, their work endures as part of the royal iconography.

Although Karl Marx, a contemporary of Queen Victoria, is not directly mentioned in the book, his concept of “alienated labor” resonates with the narrative. Marx argued that workers often lose personal connection to the objects they create—a notion that reflects the fate of these royal artisans whose lives are woven into, yet obscured by, the magnificence of the garments they produced.