Victorian and real tributes that hide the portraits of Kate Middleton's 40th birthday

Unas fotos de 2021 que parecen de hace 100 años, pero adaptadas a la modernidad. Así son los retratos que el italiano Paolo Roversi ha tomado de Kate Middleton, esposa de Guillermo de Inglaterra y aspirante a reina consorte (con permiso del príncipe Carlos y de su esposa Camila). Con motivo de su 40º cumpleaños, la duquesa ha posado con tres vestidos de Alexander McQueen para sendas imágenes que en 2023 pasarán a formar parte de la colección permanente de la National Portrait Gallery de Londres (de la que la duquesa es patrona desde 2012) y que también se expondrán en Berkshire, Saint Andrews y Anglesey, tres localizaciones importantes en la vida de Middleton.

Nothing in those three portraits has been left to chance: from the location where they have been taken to the portraitist, through the clothes, colors, poses or makeup of the Duchess.Everything behind them has an intention and meaning.Alexander McQueen's dresses (determined for the photo shoot personally by Sarah Burton, creative director), the same firm that Middleton chose for her wedding and chooses in the most important events of her public life, are red, her flagship color, and blank, a classic tone that stands out in the discreet sepia of the images and that is timeless, while the jewelher husband's grandmother, Isabel II, who has given her some earrings for the occasion.The photos were taken by Roversi in London in November, in Kew Gardens, gardens about 10 kilometers from the capital, chosen by Kate for the importance that nature has for her and for her positive impact on mental health.

Kate studied art history at the university, and her knowledge about the importance of portrait and representation are evident in the analysis of the images.The official portrait stands out especially, a inn in which it is placed sideways, with a vaporous white dress that leaves its shoulders exposed, in sight the pearl slopes that belonged to Diana and the hair to the wind.He is the only one in which Kate does not smile or look at the camera, and it is a clear nod to the victorious and classic portraits of the European real families, also of the British, to a whole tradition of queens that previously showed themselves to the village.In fact, remember other photos taken to Queen Victoria or Queen María de Teck, grandmother of the current Isabel II.

Kate's inn also has certain reminiscences to the portraits of who was one of the great photographers of the court and the stars of the middle of the last century, Cecil Beaton, who among others immortalized the queen mother, Isabel II or her sister, Princess Margarita, also dressed in white vapor in an image very similar to these.White, gauze and quiet gesture are usually key in this type of snapshot.The images even look like a pictures of authors of the nineteenth century (the specialty of Middleton and the subject of their end of career) such as Dante Gabriel Rossetti or Sir David Coyle Burne-Jones since, as Roversi has told in the newspaper Il CorriereThe Duchess herself showed some works of those painters as inspiration for the session, indeed, indeed the duchess.

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The color of the images is also suggestive, in sepia and with a very neutral background, trying to impose a smooth and little striking tone, where Catalina itself prevails than any other element;Hence the discretion of jewels - without ribbons, tiaras or necklaces - and also the subtlety of makeup and hairdressing.Both are present, but in a subtle way, with a mane that seems almost dried in the air, of pre -Rrafaelite style, great inspiration for Roversi, and with hardly any presence of blush, mask of eyelashes or lip bar on the Duchess.

The Italian photographer knows well how to fix that quality of the classic portraits, as he has demonstrated throughout his career, who started from the assistant of the British Lawrence Sackmann and other greats of photography such as Guy Bourdin or Helmut Newton and with a successful campaignFor Christian Dior in 1980.He was also the author of the Pirelli calendar of 2019, in which Emma Watson or Rosalia appeared.The Duchess decided to commission the portraits to Roversi and first raised it through a virtual meeting, and then put face face -to -face."It has been an honor for me, a moment of pure joy," said the Italian in a statement.“I was moved by his warmth and his friendly welcome and I was bewitched by his brilliant eyes, which reflect the goodness of his soul, and for his smile, which shows the generosity of his heart.It has been a deep and rich experience for me, an unforgettable moment.I met a wonder person, a person who with his positive energy can bring hope to the entire world ”.

As Roversi has counted in Il Corriere de la Sera, the photographic session took just over four hours.More than 250 photographs were taken, and after them a selection of 70 was reached.Of those, Kate opted for "a dozen of her favorites," explains the portraitist, and he chose three other own.The official photography was a joint decision."For the official portrait he wore the organza dress, almost like a classic dancer," explains Roversi, who gives an accounting and fun detail: "In the end I wanted to take pictures in motion, so with that wonderful wide skirt I made her danceIn front of my camera, a kind of accelerated waltz mixed with a pinch of rock'n'roll ”.But those photos will be saved, probably forever, in the photographer's file.