When people talk about royal fashion, they usually start and end with Diana’s massive train or Kate’s lace sleeves. But honestly? They’re missing the coolest moment in the Windsor style archives. In 1973, Princess Anne walked down the aisle at Westminster Abbey wearing something that felt like it fell out of a time machine from the Tudor era. It was bold. It was weird. It was totally her.
The wedding dress of Princess Anne didn't just look different; it broke the rules of what a princess was "supposed" to look like. She was 23 years old, a world-class equestrian, and notoriously uninterested in the fuss of royal life. So, when she married Captain Mark Phillips, she didn't choose a soft, romantic Cinderella gown. She chose a high-collared, futuristic, medieval-inspired silk dress that basically screamed "I do what I want."
It’s been over five decades, yet that Maureen Baker design feels more modern today than most of the 1980s puff-fests that followed it.
The Designer Behind the Minimalism
Maureen Baker wasn't a household name like Norman Hartnell or Hardy Amies. She was the chief designer for the ready-to-wear label Susan Small. This choice alone was a massive statement. Anne had been wearing Susan Small for years—she liked the clean lines and the fact that it wasn't overly stuffy. By picking Baker, she supported the British garment industry in a way that felt accessible, even if the gown itself was a one-of-a-kind masterpiece.
The dress was made from a heavy silk faille. No lace. No sparkles. No heavy embroidery.
Instead, the drama came from the silhouette. It featured a high "Tudor" collar that framed her face like a portrait. The sleeves were the real showstopper: medieval trumpet sleeves that flared out from the elbow, lined with delicate chiffon. If you look closely at the archival footage, you can see how they moved as she walked. It wasn't just a dress; it was architecture.
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Why the Wedding Dress of Princess Anne Was a Subversive Choice
You have to remember the context of 1973. This was the era of flared jeans and disco, but the royal family was still very much stuck in a post-WWII aesthetic of stiff satin and heavy beads. Anne’s gown was shockingly minimalist. It had a row of tiny pearls running down the back and on the cuffs, but that was basically it for "bling."
She looked like a character out of a pre-Raphaelite painting. It was a sharp contrast to her mother’s wedding dress, which was covered in 10,000 seed pearls. Anne’s look was about the cut. It was about the fabric. It was about the fact that she didn't feel the need to hide behind layers of tulle.
People at the time were divided. Some critics thought it was too plain. They wanted the glitz. But the fashion world? They loved it. It was seen as a "space-age" take on historical costume. Think Star Wars meets The Six Wives of Henry VIII.
The Hidden Details You Might Have Missed
While the dress looked simple from a distance, the construction was incredibly complex.
- The bodice was fitted with expert precision to allow for the high neckline without choking the wearer.
- The silk faille had a ribbed texture that gave the dress structure, ensuring it didn't wilt under the heavy TV lights.
- The train was surprisingly manageable compared to the 25-foot monstrosities we'd see later in the century.
Anne wore the Queen Mary Fringe Tiara. This is the same tiara her mother, Queen Elizabeth II, wore at her own wedding in 1947. It’s a piece of history that literally broke on the Queen's wedding day and had to be hastily repaired. For Anne, it stayed perfectly in place, pinning back a silk tulle veil that was just as understated as the rest of her ensemble.
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The 1992 Second Wedding: A Different Kind of Statement
We can't talk about the wedding dress of Princess Anne without mentioning her second trip down the aisle. When she married Sir Timothy Laurence in Scotland in 1992, she did something even more radical for a royal: she wore a short suit.
Actually, it was a cream silk suit with a jacket that hit just above the knee. She wore a small cluster of flowers in her hair instead of a tiara. This was a private ceremony at Crathie Kirk, near Balmoral, because the Church of England didn't allow remarriage after divorce at the time. The outfit reflected the "get-on-with-it" attitude Anne is famous for. It was practical, elegant, and completely devoid of "princess" tropes.
How to Channel the Anne Aesthetic Today
If you're a bride who hates the idea of looking like a "cupcake," Anne is your patron saint. Her 1973 look is currently trending in the world of "quiet luxury" and vintage-inspired bridal wear. Designers like Danielle Frankel or even Vivienne Westwood have frequently leaned into that high-neck, structured sleeve vibe.
To get the look without looking like you're in a costume drama, focus on these elements:
- Structure over Sparkle: Choose a heavy silk or crepe that holds its shape.
- The High Neck: It adds instant authority and elegance. It also means you don't have to worry about a necklace competing with the dress.
- Statement Sleeves: Whether they are puff, bishop, or trumpet sleeves, let the arms do the talking.
- Minimalist Hair: Anne kept her hair in her signature beehive/updo, which kept the focus on the collar.
The Long-Term Impact on Royal Fashion
Princess Anne’s 1973 gown paved the way for more experimental royal fashion. It proved that a royal bride could be "mod" and "regal" at the same time. It’s a lesson in staying true to your personal brand. Anne has never been one for ruffles or nonsense. She wanted a dress she could move in, a dress that looked like a uniform of sorts—one for a woman who was ready to work.
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Even today, when we see Megan Markle's Givenchy gown with its clean lines and bateau neckline, or Princess Beatrice's vintage Norman Hartnell (borrowed from the Queen), we see echoes of that "less is more" philosophy that Anne championed first.
The legacy of the wedding dress of Princess Anne isn't just about the silk or the designer. It’s about the confidence it takes to stand in front of millions of people and say: "This is who I am." She didn't dress for the public. She dressed for herself. In the world of the British Monarchy, that might be the most rebellious thing a person can do.
Actionable Steps for Fashion Historians and Brides
If you're looking to dive deeper into the construction of 1970s royal garments or perhaps want to emulate this style for your own event, here is how to proceed:
- Visit the Fashion Museum in Bath: They frequently cycle through royal exhibits where you can see the sheer weight and quality of the silks used in this era. Photos don't do the "faille" texture justice.
- Study the Maureen Baker Patterns: While Susan Small is no longer in operation, vintage patterns from that era (often found on Etsy or eBay) give you the exact "sloping shoulder" and "high collar" blueprints used in the early 70s.
- Consult a Tailor on "Structure": If you are designing a dress inspired by Anne, ask for "interfacing" and "boning" discussions. Anne's dress didn't stay upright by accident; it was a feat of internal engineering.
- Look at the 1973 Footage: Watch the BBC archives of the wedding. Observe how the trumpet sleeves flare when she signs the register. It’s a masterclass in how fabric should behave under movement.
Anne's style was never about being the "prettiest" girl in the room. It was about being the most present. Her 1973 gown remains a definitive moment in British style precisely because it refused to apologize for being exactly what it was: sharp, clean, and undeniably royal.