The look of royalty

In 1905, the first Rose queen, Hallie Woods, set the tone for the tournament’s “girl next door” look in a modest white confection she made herself, with ribbons crisscrossing the bodice. May McAvoy epitomized the Jazz Age rage for cosmetics in 1923 with her Cupid’s bow lips and pencil-thin eyebrows.

In 1943, the Rose court christened a battleship at a public appearance while dressed in the drab suits of wartime. And in the 1970s, the micro-mini hit Pasadena, and the world, with a vengeance.

Over the last century, Rose queens and princesses have been photographed in all manner of clothing, with few of the designers known or noted. Displaying youth, beauty and poise, these women were not models or style icons -- though a couple did go on to become movie stars and champion athletes. And yet they represent something rare: an archive of fashion filtered down to the masses.

Historically, Rose queens had just the one gown for the parade. But as the tournament grew, so too did the court’s wardrobe needs. Today’s Rose queen and princesses have 23 outfits supplied by Macy’s Pasadena for their more than 150 public appearances over the next year. Los Angeles-based designer Tadashi Shoji created their parade gowns -- modern, off-the-shoulder styles with a simple twist in front. “It’s a great tradition,” he said of the parade which will be held today even if it rains for the first time in decades. “And it’s nice that they promote me.”

Tadashi’s designs, which have been worn for the last three years, are a far cry from the gown worn in 1907 by Joan Woodbury. Hers was a regal costume worthy of Queen Victoria (who died in 1901), with a high, jeweled collar, embroidered puffed sleeves and an ermine-trimmed cape.

Just a year later, 1908’s royal highness, May Sutton, was a pioneer in women’s athletics, photographed in her tennis whites. At the time, that meant a long, cool cotton skirt worn with a jaunty necktie. She was the first American woman to win a title at Wimbledon, in 1905 and 1907.

The whole process of choosing a court was fairly sporadic in the early years. From 1915 to 1922 there were no queens, but fashion changed dramatically. McAvoy, the 1923 queen and a camera-loving glamour puss, became a movie star opposite Al Jolson in “The Jazz Singer.” During her reign, she reflected the influence of French fashion designer Paul Poiret. He freed the body from the corset, as demonstrated by the softly romantic, drape-front lace dress and floppy organza hat McAvoy wore to pose with a bouquet of long-stemmed roses. In another shot, McAvoy wears an embroidered Oriental robe, one of the Eastern styles Poiret helped to popularize in the early 20th century.

Treva Scott, 1934’s queen, was also a fashion plate. Her gown was one of the most exquisite in pageant history: sleeveless and cut on the bias with tendrils of ruffles radiating from the shoulders. Scott posed for a lighthearted photo in an officer’s cap, perhaps inspired by the one worn by Marlene Dietrich in the 1932 film “Shanghai Express.” In 1935, Muriel Cowan’s gown, with puffed, ruffled sleeves and a cinched waist, also looked inspired by the silver screen, perhaps one of the thousands of replicas sold of Gilbert Adrian’s famous creation for Joan Crawford in the 1932 film “Letty Lynton.”

The 1942 parade was canceled because of the attack on Pearl Harbor, but wartime restrictions hadn’t yet hit home for the Rose Court, dressed in the creamy white silk gowns with fluttering peplums. On New Year’s Day, queen Dolores Brubach and her court sold Victory stamps and rode in a convertible down a deserted Colorado Boulevard.

Throughout the 1940s, photos of tournament tryouts showed hemlines rising and nylon stockings becoming scarce. But by 1952, extravagant femininity had returned with Christian Dior’s New Look. That year, the Rose Court could have been mistaken for a ballet troupe, in gowns with enormous clouds of tulle. In a more casual shot, queen Nancy Thorne was the picture of a 1950s collegiate in a turtleneck sweater and brooch.

The 1960s arrived with a bang. Skirts rose above the knee, the sleeveless shift dress was “in” and loud florals and patchworks were the norm during tryouts, when 1,000 women were vying for a chance to win. The 1968 court was a fashion force in matching candy-striped minidresses and coats, Jackie Kennedy hairdos and the square-toed shoes and pillbox hats of the day.

By the 1970s, daytime hats and gloves had disappeared and hemlines had climbed even higher. In 1972, the court was photographed in pants, looking like career-minded Mary Richardses in smiley face yellow polyester.

The 1980s saw the court in preppy, bow-front blouses, tartan skirts, permed hair and, in 1989, the ever-popular sweater dresses. The 1986 princess gowns had the distinction of having single puffed sleeves. Throughout the decade, puffy skirts and ruffles around the shoulders echoed the optimism of the “Dynasty” years.

Although all Rose queens are required to wear white, most escaped looking like brides until the 1990s, when lace bodices made an unfortunate appearance on gowns for several successive years. But by 1997, the influence of Vera Wang’s skating costumes for Nancy Kerrigan emerged in the court’s ink blue dresses with mock turtlenecks and long, illusion sleeves.

Now that the age of marketing has dawned, the tournament has an ever-increasing number of fashion and beauty sponsors. This year, Estee Lauder is providing cosmetics, the Amadeus Spa will provide hair and nail care, and Mikimoto will supply the jewelry, tiaras and crown.

In the past, the queen’s crown was a rhinestone stand-in. But this year’s $100,000 handmade headpiece has 632 cultured pearls and more than six carats of diamonds in a twinkling ribbon arrangement. The Rose queen doesn’t get to keep that, but all seven women will receive a pearl necklace and earrings from Mikimoto, which also provides tiaras for the Miss USA, Miss Teen USA and Miss Universe pageants.

“It’s exposure to a younger audience,” Robert Artelt, senior vice president of marketing for Mikimoto America, said of the partnership.

Can stylists and swag suites be far behind?