#queemaxima

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.