One is the gilded peak of Britain’s industrial boom, the other the glittering excess of pre-revolutionary France. Yet both are united by a devotion to beauty, luxury, and the arts — royal courts that embraced a maximalist ethos, showering wealth on jewels, fine books, decorative objects, and the latest fashions. The key difference? The Edwardians were atop a society whose middle and upper-middle classes were thriving and keen to emulate them, while the French monarchs remained utterly distant from its people, blind to the brewing social unrest that would ultimately topple them.
There is, perhaps, a cautionary tale in Marie Antoinette’s story about the perils of extreme inequality.I recently had the chance to explore exhibitions celebrating these two very different worlds on the same day — The Edwardians at the King’s Gallery at Buckingham Palace and Marie Antoinette Style at the V&A — and I was struck by how the two courts’ obsessions with style, comfort, and spectacle shaped not just their own lives, but entire eras of taste.
Edwardian Elegance: When royals set British style
If you love the Gilded Age, The Edwardians exhibition is a feast. Housed in the King’s Gallery, it charts the era from Edward VII’s marriage to Alexandra of Denmark in 1863 through World War I, focusing on the artistic lives of two glamorous royal couples: Bertie and Alexandra, and their son George and his wife Mary.
Alexandra’s early influence is evident in the Danish touches that adorned England’s royal homes — stunning Copenhagen scenes, Royal Copenhagen porcelain, and exquisite silver. These were collectors who delighted in decorative gewgaws and books alike: from Meissen monkeys in an orchestra of whimsy to a beautiful example from the William Morris Press, the craftsmanship and artistry on display is extraordinary.
For me, the exhibition had a deeply personal resonance. One of my husband’s ancestors was a member of the Danish court who came to England with Alexandra and became governess to the princesses. Among the treasures on display are watercolours by Queens Alexandra and Mary. Hanging on our bedroom wall are watercolours by the three princesses, gifts to their governess. It was exciting to see the similarity in style and imagine the women sharing a teacher and painting excursions.
Maximalism was the rule of the day. Alexandra’s coronation robes were adorned with metallic threads and the flowers of the nations, a motif she introduced, while Mary’s jewellery continues to dazzle in the Royal collection. Travel also played a role in shaping taste: from New York to India, South Seas, and Australia, souvenirs and artistic encounters enriched the royal aesthetic. And yet, as visually sumptuous as it was, the Edwardian world was fated to collapse with the advent of World War I.
Edwardian Elegance: When royals set British style
If you love the Gilded Age, The Edwardians exhibition is a feast. Housed in the King’s Gallery, it charts the era from Edward VII’s marriage to Alexandra of Denmark in 1863 through World War I, focusing on the artistic lives of two glamorous royal couples: Bertie and Alexandra, and their son George and his wife Mary.
For me, the exhibition had a deeply personal resonance. One of my husband’s ancestors was a member of the Danish court who came to England with Alexandra and became governess to the princesses. Among the treasures on display are watercolours by Queens Alexandra and Mary. Hanging on our bedroom wall are watercolours by the three princesses, gifts to their governess. It was exciting to see the similarity in style and imagine the women sharing a teacher and painting excursions.
Maximalism was the rule of the day. Alexandra’s coronation robes were adorned with metallic threads and the flowers of the nations, a motif she introduced, while Mary’s jewellery continues to dazzle in the Royal collection. Travel also played a role in shaping taste: from New York to India, South Seas, and Australia, souvenirs and artistic encounters enriched the royal aesthetic. And yet, as visually sumptuous as it was, the Edwardian world was fated to collapse with the advent of World War I.
Marie Antoinette Style: Rise, fall and reinvention
Hopping over to the V&A, I travelled 20 minutes west and 150 years backwards to the world of France's most famous queen. I was prepared for a show heavy on modern fashion, light on history — perhaps because of the Manolo Blahnik sponsorship and promotional photos that were almost entirely of modern fashion. Instead, I found a deeply immersive historical experience. I’d guess that more than 65% of the exhibition focuses on the queen herself, charting her life through clothing, accessories, and the material culture of the French court.
Hopping over to the V&A, I travelled 20 minutes west and 150 years backwards to the world of France's most famous queen. I was prepared for a show heavy on modern fashion, light on history — perhaps because of the Manolo Blahnik sponsorship and promotional photos that were almost entirely of modern fashion. Instead, I found a deeply immersive historical experience. I’d guess that more than 65% of the exhibition focuses on the queen herself, charting her life through clothing, accessories, and the material culture of the French court.
The exhibition opens with a dazzling array of 18th-century costumes — most not belonging to the queen but conveying the extraordinary opulence of the age. There are outrageous diamonds, jewelry cases brimming with bling, towering hairstyles, and even the queen’s piano. One striking section lets visitors explore scent in the palace, a sensory detail often overlooked in historical exhibitions.
The story moves beyond objects to Marie Antoinette’s legacy: her vilification in pamphlets and caricatures, her imprisonment, and eventual death, followed by her posthumous rehabilitation. The English and Empress Eugenie played key roles in restoring the queen’s image, linking her name to luxury, culture, and fashion. Finally, the exhibition pivots to contemporary couture inspired by Marie Antoinette — costumes from film, installation art, and high fashion — a reminder that her style remains iconic centuries later. Unlike the Edwardians, however, she didn’t live to see her world change. It came crashing down with revolution, a violent punctuation to opulence untempered by social awareness.
Two Courts, Two Fates
Comparing and contrasting the two exhibitions is compelling. Both courts relished beauty, both spent lavishly on art, fashion, and decoration, and both eventually faced their reckoning. The opulence of Edwardian England died— metaphorically and literally with the slaughter of WWI — but many of its key players lived on to reinvent themselves in a more sober age. Meanwhile, Marie Antoinette’s court ended abruptly and brutally, and was vilified for years before it was resuscitated to for other purposes. Fortunately we don’t have to pay any price for indulgence other than admission fees. Both exhibitions reward that investment with sensory delight.
In terms of presentation, the V&A takes the crown: soundscapes, scent, and immersive displays transform the Marie Antoinette show from mere exhibition into a multi-sensory experience. The Edwardians, by contrast, offers a quieter, reflective feast of objects, drawings, and family histories — equally rich but more contemplative. You feel much more of a sense of getting to know Bertie, Alexandra and their families, while Marie Antoinette remains more “celebrity” than authentic human throughout.
For those who want to explore both worlds, hurry up: the Edwardians closes on 23 November. You have much more time for Marie Antoinette Style, which runs until 22 March 2026. A side-by-side journey offers a rare opportunity to compare courtly maximalism across centuries, in Britain and France, and to reflect on the social forces that shape — and may eventually topple — even the most glittering of worlds.
The story moves beyond objects to Marie Antoinette’s legacy: her vilification in pamphlets and caricatures, her imprisonment, and eventual death, followed by her posthumous rehabilitation. The English and Empress Eugenie played key roles in restoring the queen’s image, linking her name to luxury, culture, and fashion. Finally, the exhibition pivots to contemporary couture inspired by Marie Antoinette — costumes from film, installation art, and high fashion — a reminder that her style remains iconic centuries later. Unlike the Edwardians, however, she didn’t live to see her world change. It came crashing down with revolution, a violent punctuation to opulence untempered by social awareness.
Two Courts, Two Fates
Comparing and contrasting the two exhibitions is compelling. Both courts relished beauty, both spent lavishly on art, fashion, and decoration, and both eventually faced their reckoning. The opulence of Edwardian England died— metaphorically and literally with the slaughter of WWI — but many of its key players lived on to reinvent themselves in a more sober age. Meanwhile, Marie Antoinette’s court ended abruptly and brutally, and was vilified for years before it was resuscitated to for other purposes. Fortunately we don’t have to pay any price for indulgence other than admission fees. Both exhibitions reward that investment with sensory delight.
In terms of presentation, the V&A takes the crown: soundscapes, scent, and immersive displays transform the Marie Antoinette show from mere exhibition into a multi-sensory experience. The Edwardians, by contrast, offers a quieter, reflective feast of objects, drawings, and family histories — equally rich but more contemplative. You feel much more of a sense of getting to know Bertie, Alexandra and their families, while Marie Antoinette remains more “celebrity” than authentic human throughout.
For those who want to explore both worlds, hurry up: the Edwardians closes on 23 November. You have much more time for Marie Antoinette Style, which runs until 22 March 2026. A side-by-side journey offers a rare opportunity to compare courtly maximalism across centuries, in Britain and France, and to reflect on the social forces that shape — and may eventually topple — even the most glittering of worlds.
You can find short films by me on both of these exhibitions on my Facebook, Instagram or TikTok accounts. Follow the last for the most extensive, up-to-date content.
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