Mary Chamberlain, Joseph Chamberlain’s third wife, had a lifelong passion for fashion. As a leading political hostess, Mary attended a large number and varied range of social functions where the ‘correct’ dress was essential.
Mary Chamberlain & Fashion
Mary Wearing Court Dress by Worth ©Peabody Essex Museum
Mary’s favourite couturier was the celebrated Parisian designer Charles Worth, whose house was renowned for luxury and craftsmanship. The firm was founded in 1858 by Charles Worth, who was English, and the business was continued by his sons.
Mary arrived in England from America in December 1888 already well supplied with Worth dresses as part of a lavish trousseau given by her father, Judge Endicott. It included seven Worth dresses: dinner gowns in silver and green silk, three ball gowns of tulle, a tea gown, and an ‘At Home’ dress, each with matching accessories. These were probably chosen from sketches and fabric samples sent from Paris to the shop of Mrs Donovan Mary of Madison Avenue, New York, who as well as selling her own original designs, such as Mary’s wedding dress, sold Worth dresses.
Mary’s first visit to the Worth salon in Paris was in December 1888 for final fittings before her honeymoon; from that point on Mary dealt with ‘Monsieur Jean’ on her frequent visits to Paris to order new clothes.
Mary’s debut in Birmingham society came in January 1889 at a reception at Birmingham Town Hall, when she wore a pink Worth gown, and diamond jewellery she had received as wedding presents. At the event, she was gifted more jewellery: a string of oriental pearls clasped with diamonds from people of Birmingham; a six-pointed diamond star from the Women’s Liberal Association, and a gold filigree necklace, brooch and bracelet made in Birmingham from the constituents of West Birmingham
Mary regularly described her clothes in letters to her mother, vividly detailing the fabrics, trims, and accessories. When she was presented at Court in 1889, her Worth gown of white brocade, silver tulle, and Honiton lace marked her formal entry into London society. She later wore several Worth court dresses, one of which, an intricately embroidered blue satin gown, is now held by the Peabody Essex Museum in Salem, USA.
Mary was painted twice wearing Worth gowns. In John Everett Millais’s portrait (1890–91), she chose a soft grey dress inspired by Madame Roland, elegant and timeless. In John Singer Sargent’s 1902 portrait, she collaborated with both the artist and ‘Monsieur Jean’ of Worth to design a white peau de soie gown with delicate coloured drapery. On the same Paris trip, she also ordered a yellow gown, a mauve-striped crepe de chine dress, and several coats for upcoming royal events, including the Coronation.
Worth not only designed new garments for Mary but also remodelled and cleaned her existing gowns. Her famous red satin ‘Van Dyck’ dress, now in the National Museum of Australia, was refashioned by Worth in 1902.
Mary’s wardrobe extended beyond grand occasions. For Queen Victoria’s 1897 Jubilee, she attended the Duchess of Devonshire’s fancy dress ball as a pink-silk shepherdess, which derived from her husband preferring her in ‘fine feathers’. For travel, Mary planned meticulously; her 1902–03 South African trip required 26 dresses, from practical alpaca travelling suits to delicate white batiste gowns.