Amelia Taeed

This article is written on the occasion of the new exhibition, 'The Dress Code,' at Museum Palace Het Loo. The intention is to provide insight into the global force of fashion from different social perspectives.

“The Dresscode : From Statement to Style Icon” - dresses, or beyond?

Behind the doors of the exhibition hall at the Palace het Loo, a long-awaited show is about to reveal itself.

It is on the eve of October 9, 2025, that the invited guests are to witness of a Palace, adorned with a vast collection of attires, ever worn by the royals (mainly Dutch), from the 19th century, to the present day. It is claimed to be the biggest clothing show at the Palace Museum.

The museum of the Palace Het Loo in Apeldoorn in cooperation with Kunstmuseum The Hague, has curated about 150 magnificent pieces of outfits and accessories, each caries a sense of history. To protect some fragile garments, they are kept away out of light until the last possible moment before the opening.

By passing through the collection, a transition is seen from the time where women were constrained by certain garments codes, like stay, corset and ‘cup de Paris’, to their stylistic liberation from imposed dress codes. 

Liberation was spurred by different social and economic factors after WWI, and the appearance of fashion icon Coco Chanel in the mid-1920s marked a new era for women.

Coco’s influence was preceded by another impact on the other side of the Atlantic Ocean: the Charleston flapper dress style. A style that resonates with the Charleston dance, an Afro-American creation born in Charleston, South Carolina.

As with the free-leg kick dance, there was a flash of defiant freedom and independence, the dress, with its loose fit, dropped waistline and short hemline was an illustration of this gained freedom, through a comfortable style.

However, a paradigm shift in fashion had already occurred during the Age of Enlightenment in the 18th century, moving from the elaborate and extravagant Rococo style to simpler, lighter, and more comfortable Neoclassical design (Empire style), reflecting an era of reasoning where individuality and practicality gained prominence. Thinkers like Rousseau encouraged simplicity of style as a way of freedom from excess and artificiality.

While dress codes initially helped royalty and nobles distinguish themselves from the commoners, but they have since been adopted more broadly by the modern society for practicality and to clarify the formality of an occasion.

In this exhibition it is shown that a notable shift in leading fashion has taken place between royalty and celebrities. Those on the ‘walk of fame’, who have long adopted the styles of royals, are now becoming increasingly influencing the outfits of the royals. 

For this reason, a section showcases the iconic red carpet dresses worn by this powerful group, highlighting a range of styles from the delicate coquette aesthetic to the extravagant and avant-garde.

These gowns are eye-catching, not primarily because of their (remarkable) creation, but more so because of the woman who had worn them. As the exceptionally talented designer Yves Saint Laurent, once said : “over the years I have learned that what is important in a dress is the woman who wearing it”

In that light, one example is the actress Audrey Hepburn, the epitome of 'elegance' and 'class', whose outfit is among the displayed collection.

These attributes of Mr Givenchy’s design - whose dress code is nothing but timeless ‘class’ and ‘elegance’- could not have been illustrated without the actress's own persona.

And these elements of ‘grace & sophistication’ set the royal dress code : 

high and fine materials, impeccably tailored, with incorporation of the rule of aesthetics, like balance, harmony, variation, simplicity..

Although the sophisticated materials are often associated with opulence and luxury, they may last for a long time, ultimately yielding a positive return. Conversely, fast-made items from lower-quality materials, produced cheaply and leading to overconsumption, may significantly affect our environment, and impact supply chain ethics. (“The textile and clothing industry is responsible for approximately 8–10% of total global greenhouse gas emissions, contributing about 3.9 billion tons of CO2e per year. Globally, this is more than the combined emissions from international aviation and shipping”).

Therefore, the sustainability and circularity question needs to be deeply integrated into this industry to lead towards a new textile system with policies implemented to ensure its safeguarding.

Paradoxically, the industry itself is arousing environmental awareness, and generating dialogue and actions towards ethical and sustainable practices. It can fuse ‘aesthetic’ with ‘responsibility’.

Whereas other disciplines of art are highly regarded, society becomes critical to this form of wearable art as a form of ‘freedom of expression’.

The spiritual dimension of a garment is its power to express our inner essence, uniting within with without. For some, like myself, the choices of fabrics determine the basis, and its elixir works like ‘meditation’. 

Fashion is not about what you buy, but it is about navigating through your inner self and your emotion and to paint your own canvas. And the art is how to apply it in versatile ways, not only to economize with the ecosystem, with your budget, with your wardrobe space, and with helping to travel light, but to empowering your creativity as well. 

In this context the question of ‘uniformity’ in fashion should be addressed. Sadly, in the current society it’s expected to comply with the trends, and with the crowd. 

The seasonal trendsetters and fashion elites who are inspirational to a considerable portion of society, can, contrary, suppress the mass-level imagination and inventiveness. This can further result in those who do not follow the rules being rejected.

This is foremost visible within our younger generations. Of course, this reflects a superficial and narrow minded mentality, which can be rooted in upbringing, and it can be nurtured by different environments, at later stages. 

This is an undesirable situation with which our society has to deal with. 

The educational institutions cannot escape responsibility regarding this issue and have a significant role to play alongside parents and the media in addressing it. 

In my recent visits to Berlin, I discovered the city's embrace of creativity and originality through its people's outfits and clothing choices. The wave of ‘freedom of expression’ through fashion, transformed the city into a fascinating spectacle, without palpable judgment. Here one experiences ‘unity in diversity’. 

The introduction of other cultures and the revival of their heritage, another contribution of fashion, results in enrichment and stimulates multiculturalism. And if it is a transmitter of messages, and fosters connection, then it can be considered as a medium for unification. Is there anything more valuable than unity? 

As another component of this exhibition, a playful interactive section invites visitors to search for their own style and so encourages them to relate it to a broader societal 'group style' through universal visual language. 

It reveals that as we are honoring our unique identity, we are simultaneously sensing our belonging to a collective identity.

However, wouldn't it be more laudable to build a shared identity rather by defining our thoughts and actions in the pathway of humanization? 

This brings me to my final point. While the capacity of fashion and dress code, to illustrate a message and to create clarity, to harmonize and to connect, to inspire and to enrich, to convey narratives and to raise awareness, and to contribute to the art world is manifestly immense, it should serve as a flourishing tool without creating limitations, barriers, and divisions. Indeed, it should be used as an instrument to facilitates the attainment of higher goals, aimed at collective self-realization and global prosperity. 

‘From Statement to Style Icon’ brings us to gaze on the queens of Orange. Each left their legacy in the field of art and fashion: from Mary who brought beauty to the palace, and to the Dutch households by her artistic background and expertise in flowers decoration in the 17th century, to Emma with her introducing the international Haute Couture to her new country in the 19th century, and presently, Maxima who adorns herself, alongside the traditional material- based jewelry like precious stones, with the modern creative-based jewelry like glass and resin, cherishing the artistry, and the artists. 

This impressive visual presentation surrounded by an alluring decor is worthy of praise. Both museums deserve commendation, for organizing and for hosting this spectacle and for bringing the world of fashion into this little town. In particular, the central figures in its realization, the curators Paul Rem, and Madelief Hohé, merit admiration for their profound contribution. 

A presentation - The Spiritual Meaning behind the Art of Iran

A new exhibition at Het Loo museum, in which 123 years of female kingship in the Netherlands is highlighted. 

This exhibition coincides with the Jubilee Year of Women, proclaimed by the United Nations in 1975, together with the 80th anniversary of the Freedom of the Netherlands.

It focuses on the three queens, Wilhelmina, Juliana and Beatrix, and their ‘leadership’, which took place in a rapidly changing society, especially in terms of gender relations. It examines how smoothly the transition of their management – from 'tradition' to 'modernity' – took place; how much their leadership was based on 'femininity' and female qualities; the role their partners had played in the quality of their management, and in shaping their image; and the role of the media in 'making' or 'breaking' this image - at one time the media from outside, zooms in on the royal family, at another time the media from within, is used as an instrument.

Moreover, this show not only reveals the truth behind the persistent myths, but at the same time creates an opportunity for dialogue, to address several social issues: how do we describe the role of women as leaders in 2025? Or even: how do we define the meaning of 'leadership' in general?  What is our idea of ​​freedom and peace? Can we say that we are truly liberated? And are women free to shape their leadership based on their female qualities – on their pacifist tendencies, on their compassion and motherhood? And what is the real role and responsibilities of the media?

Although, the protagonists in this display are the queens (the leaders), their partners and the media, we must ask ourselves: where do we position ourselves in the 'counterplay’ ? 

Are we ’sideline viewers” ​​– part of the media-consuming society? 

Or, just part of a critical society? 

Or are we accountable for being involved in the ‘society forming’, to influence our media policy on the one hand- based on the crucial components of ethical and responsible media practices- and on the other hand, to support our Royal Family in shaping their leadership, based on our collective consciousness, and our constructive participation?

And what about reflecting upon the kind of queen we want, with the arrival of Amalia  – a character like Wilhelmina, with a (military) male role model? or a pacifist, motherly- oriented Juliana? or an efficient business- oriented Beatrix? or are we looking for a queen with a renaissance mentality?

But perhaps we should start by redefining the multifaceted meanings of, 'liberation' & ‘peace’, of (female) 'leadership’, and of the rol of the media - a ‘making-braking’ instrument, or an instrument of enlightenment?

Grammar of an Ancient Pattern Composition

Even before the Christian era, traders traveled along the Silk Road, bringing Eastern and Western art, culture and science into contact with each other. One of the most important Western ports where these changes took place was Venice.

From this center the ideas and hidden philosophies that lay behind the artistic expressions spread to all directions.

The symbolic expression of this 'center' has been portrayed by several art forms from the ancient period with a 'central point'.

In ancient Persian pattern design - from metalwork to carpet - and in architecture (in the form of domes), and in garden design (in the form of basins) - this 'central point' was a common thread. It is described as the infinite Force that connects everything and sets everything in motion: a movement starts from the center outward and then moves outwards towards the center.

This representation of the point of (infinite) 'movement' and 'connection' is on Persian metal plates from the ancient had been engraved (Fig. 1A), and later on was applied by Leonardo Da Vinci. It was called 'Leonardo's Knot'. (fig. 1B)

The 'movement' represents 'thinking' and 'consciousness'. This was the basis of life. According to Descartes' statement: Cogito, ergo sum ('I think, therefore I am')

From this idea the composition of flowers in the patterned objects was created. The flowers were conceived in a moving form and in a dancing state. This dancing form in patterns is seen again in miniature drawings, and also in calligraphy, poetry and literature.

To put an artistic link here, between Persia and Holland of the 17th century, I would like to go to the great master Rembrand, who had a lot of interest in Oriental art (he was also collector of it). Rembrand applied certain compositions of the Persian miniature into a number of his etchings. On the other hand, there were Dutch artists working at the Persian court, who introduced perspective and oil painting techniques.

In the 370 year history of Delft Pottery there have certainly been exchanges with Persian ceramic art, where certain elements are recognizable, both as Old Delft (17th century - Delft Persian Blue) and New Delft (1910-1934). The resemblance is especially striking with the color; motif use of geometric, floral patterns and animal figures; and the application of Luster glaze. (fig. 2)

It is interesting to note the influence of Daniel Marot (the French interior designer of Paleis Het Loo) on the development of Delft pottery (Delft Blue White).

 An example of this is the special object of the Palace, the flower pagoda in Queen Mary's bedroom fig.3).

It was always believed that this pottery of stacked vases was inspired by the 15th century Chinese porcelain tower. However, the new data strengthens the suspicion that the design form was influenced by the court architect Daniel Marot. 

In the nineteenth century, a movement arose in England that opposed industrialization within the arts and showed an aspiration for actual industry. They called themselves the Arts and Crafts Movement, which influenced heavily the formation of the Art Nouveau Style, at the end of the 19th century.

This group under the leadership of William Morris found itself enraptured by Persian pattern design. They found that these designs are literally a reflection of nature; and that the Persian artists had well studied the law of nature. And hence, by applying geometric calculations, they were able to create the design on the base material (textile, wood, metal...) in the most proportional, balanced and harmonious way.

It was through this Movement that Persian art was reborn in the West. The (Persian) flower species such as carnation, tulip, iris, ... were used in the pattern designs of wallpaper, floor coverings, textiles and ceramics, with the same composition. In these compositions you often see hanging/moving flowers that connect with silent flowers or leaves. (fig.4)

The 'movement' and the 'connectedness' are expressed here. The 'movement' alternates with the 'stillness' or with the point of 'concentration'.

Another form of composition that produces 'movement' is in the form of ‘repetition' - the repetition of motifs in the pattern design. Through repetition, one increasingly distances oneself from the material and becomes more ecstatic by the beauty of the creation. This effect through recurrence can be compared to the music form of the Bolero. Furthermore, the recurrence creates a sense of infinity - another reference to the infinite Power.

For the element 'infinity' we go to the room of King William III. The wall covering in this room consists of the Kashmir or Paisley motif, in a repetitive composition. Kashmir motif originated from the cypress tree that has a very long life; and that in turn is symbolism for 'infinity' (fig 5).

The 'infinity' is also depicted in a different way in the Persian carpet patterns. The carpet pattern consists of two parts - the inner part, which is a reflection of paradise, and the border, which depicts everyday life. The inner part is left unfinished at the edge, as if the story continues behind the invisible. Paradise is infinite, and one can only observe a piece of it (fig.6).

To make a comparison here with 20th-century Western art representation, we mention Mondrian's neoplastic design principles - the horizontal and vertical compositions - which he rotated 45 degrees to rest 'on the point', without destroying the linear elements in the composition. Mondrian says that the forms are incomplete and cut at the edge of the canvas, suggesting a continuous pictorial narrative that extends beyond the physical boundaries of the canvas (fig.7).

En de symbool van de ‘centrale punt’ in de tapijtkunst komt in de vorm van een centraal medaillon te voorschijn. Bij een bepaalde tapijtontwerp, zoals bij de afgebeelde voorbeeld, is een vierzijdige tuin met een bassin als ‘centrale punt’ te zien, met indeling van vier tuinen, gescheiden door waterwegen die samen de vier tuinen van paradijs vertegenwoordigen.

Men zou kunnen stellen dat de oorsprong van het idee voor het tuinontwerp van Paleis Het Loo een veel oudere geschiedenis heeft. Deze tuinstijl werd namelijk toegeschreven aan de Hangende Tuinen van Babylonië en de Perzische koninklijke tuinen van Passargadea, die later de inspiratie vormden voor beroemde paleistuinen, waaronder de Taj Mahal-tuinen en de Alhambra Lion Court-tuin.

Back to the here and now, we see the theme 'infinity' presented from different angles in the current exhibition Bloom. The contribution, sustainability, and future of the flower, and our role and responsibility in this.

The elements 'movement' and 'repetition' can be recognized in the creative wall projection of the dancing tulips that reveal the hidden Power (fig.8).

It may be appropriate to mention something about the origin of the tulip. This type of flower was cultivated in Iran as early as the 10th century. And the name was derived from the shape of the built-in niche which had the inverted shape of a tulip, and was called Dulap.

To make another link with this very successful exhibition, I take the eye-catching artwork of the dried flower composition by the floral artist Hanneke Frankma in which she looked for the balance between colors, materials, different shapes and details. This is an embodiment of the Persian carpet where 'unity in diversity' is expressed - a total integrated image, in a long shot view, versus a fully detailed composition of colors and objects, in a close up view (fig 9.).

Figuratively speaking, Johannes Christoph Lotyn's Pronkbouquet is a representation of 'unity in diversity', by bringing together flowers from different parts of the world.

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In this brief introduction to the symbolism of motifs, and their compositions, in ancient Persian pattern design, the elements of 'movement' and 'connection' are the key players. And allegorically, these are a representation of the character and personality of museum Paleis Het Loo - its 'inclusivity' and connectedness. Connectedness with the past and the future; of the 'local' with the 'global'. A 'movement' that creates awareness, especially about the underlying events of the past, and about our way of thinking and actions in the future.