BBC legend Fiona Bruce reveals the story behind private and personal items of the late Queen Elizabeth II

In celebration of Queen Elizabeth II’s 100th birthday, a special episode of Antiques Roadshow, recorded at Windsor Castle, offers a glimpse into the Royal Collection.

In this special episode, Fiona Bruce shares her favorite objects from the show, alongside personal items brought in by the public, and explores how they reveal important stories about the monarch’s life.

As told to Robin Parker.

Coronation dress (1953)

It’s simply amazing. This dress is a powerful reminder of a significant moment in history. Designer Norman Hartnell presented nine different concepts, and the Queen chose this ninth design. The dress reveals a lot about her personality and the nation’s identity at the time, reflecting her vision for Britain’s role in the world through the details she chose to have embroidered on it.

I was absolutely fascinated to learn that, beyond the usual gold and white, she really wanted to incorporate color and symbolism from across the British Empire. It wasn’t just about Scotland’s thistle, Ireland’s shamrock, England’s rose, and Wales’ leek, though. She envisioned including emblems from all the dominions too! There was the lotus for India and Sri Lanka (then Ceylon), the bright yellow wattle for Australia, the delicate silver fern for New Zealand, a classic maple leaf for Canada, and even cotton and jute to represent Pakistan. And to top it all off, she wanted a beautiful pink protea flower to stand for South Africa. It was such a thoughtful and inclusive design!

Hartnell thoughtfully added a single four-leaf clover to the three-leaf clover design on the Queen’s coronation gown. He placed it specifically above her hand, hoping she would touch it for good luck as she walked down the aisle of Westminster Abbey.

I was really struck by how young and delicate she seemed when she became queen. The dress itself must have been incredibly heavy, and she was carrying not just the fabric, but also the weight of everyone’s hopes and expectations for the future. I imagine she felt that pressure when she wore it.

Stamp (1967)

The Queen’s image on the Arnold Machin stamp is incredibly well-known – it’s one of the most copied pictures ever. We’ve all seen it countless times. It just never struck me to wonder if the shoulders in the image actually belonged to the Queen!

So, Machin initially designed the dress to stop at the neck, but the Palace wanted it to include the shoulders too. Now, instead of making the original model sit for another round of fittings, they cleverly used Angela Hewins – a family friend – as a stand-in. And get this – they draped old curtains around her shoulders to mimic the shape! As a film buff, I just find that detail incredibly charming – it’s this wonderfully unexpected, almost makeshift solution born from something so ordinary and familiar.

Infant dress (1927)

This lovely cotton dress was made by Smith & Co. on Sloane Street and was worn by the Queen when she was one year old. It features delicate detailing at the waist, originally accented with silk ribbon, and has pretty, pleated flounces around the sleeves.

Seeing the outfit reminded me of my own toddlers and their messy clothes, usually covered in food like carrot puree! This one, though, was remarkably clean – almost like new, even after nearly a century. There wasn’t a speck of mashed banana to be found. I imagine the Queen, as a child, was just like any other, but these clothes were clearly treasured and carefully preserved for the future. It’s hard to believe any family would have such well-kept clothes from that time in their lives.

Pantomime costumes from royal dressing up box (1943)

The costumes worn by Queen Elizabeth and Princess Margaret are truly remarkable. It’s amazing that the pantomimes performed by the sisters weren’t discovered until 2022, during the restoration of the Palace’s Waterloo Chamber. While taking down paintings, conservators found murals that had served as the backdrop for these stage productions.

There are only seven pantomime costumes left from her performances, including one from when she played Aladdin in 1943 and another from the last show she and her partner did together, titled Old Mother Red Riding Boots.

These dolls are wonderfully crafted, and you can tell they were loved and enjoyed. Everyone loved playing dress-up as a child! These dolls have been remarkably well-preserved, offering a glimpse into life at the Palace and in Britain during the war. When paintings were removed, the children transformed that room into their own special playground – a place for fun and imagination.

I remember everyone in town buzzing about the show, buying tickets knowing the money was going to help with the war. What really struck me wasn’t just that it happened in a small place, but how it happened. They had unbelievably talented people working on the costumes, the sets – absolutely everything. It wasn’t some simple village hall production; it was truly something magical and far beyond anything we usually saw.

Royal gifts

As a total movie and history buff, I was really fascinated by the exhibition of gifts at Windsor Palace. It’s amazing how much each present reveals about the person giving it! They had Barbara Hepworth’s very first sculpture made of gold – it was shown in Truro back in 1966. And there was this incredible Maori Nephrite club, sent as a gesture of peace and understanding within the Commonwealth way back in 1964. It really gives you a sense of history and the relationships between people and nations.

A beautiful silk scarf, inspired by a cave painting, was given to the Queen by Nelson Mandela during his 1996 state visit to the UK, shortly after he was released from prison. The media widely reported their warm relationship at the time.

I always remember hearing a story – and it might not be completely true, but it’s a good one – about a crocodile being given to her. Apparently, it was put in a bath at the Palace while they figured out what to do with it! Thankfully, they eventually sent it to a zoo.

State occasion dresses (1970s, 1980s)

Both dresses were designed by Ian Thomas, a former trainee of Norman Hartnell. One is a sophisticated evening gown worn during formal events on overseas tours aboard the royal yacht Britannia, while the other, a pink dress, was famously worn by the Queen during her groundbreaking 1986 state visit to China.

The clothing conveys a sense of grace and statesmanship through its detailed design and fabrics. Similar to her Coronation dress, she aims to blend the wearer’s personal comfort with the powerful message of leadership conveyed simply by her presence.

Her clothing choices were a subtle but powerful way of building goodwill; she always seemed to honor the culture of the country she was visiting. It’s impossible not to notice how carefully her outfits are designed – for example, a dress from 1986 featured a Chinese tree peony, a flower that represents both the nation and wishes for a long, prosperous future.

Rocking horse, 2016

The Queen received Burmese, her beloved horse, as a gift from the Royal Canadian Mounted Police in 1969. This wooden model was created for her 90th birthday and features a hidden compartment. A drawer decorated with a maple leaf slides out from the bottom, representing Canada, and originally held a bottle of maple syrup.

A rocking horse was a small but meaningful tribute to the Queen’s lifelong love of horses. While covering her funeral for the BBC, I learned that the man in charge of her horses walked a black pony – the one she rode until very recently – along Windsor and Green Park as the procession passed. He actually did it, and it was a deeply touching sight. As a horse lover myself, I completely understood the gesture.

Authors

Robin Parker

2026-04-18 12:08