Meghan and Harry That They Would Have to Accept What Was on Offer and Not Demand What Was Not
Contents Title Page Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Photo Section Copyright CHAPTER 1 On May 19th 2018, when Meghan Markle stepped out of the antique Rolls Royce conveying her and her mother Doria Ragland from the former Astor stately home Cliveden to St. George’s Chapel, Windsor, where she was due to be married at 12 noon, she was a veritable vision of loveliness. At that moment, one of the biggest names of the age was born. As the actress ascended the steps of St. George’s Chapel, its interior and exterior gorgeously decorated in the most lavish and tasteful spring flowers, she was a picture of demure and fetching modesty, stylish elegance, transparent joyousness, and radiant beauty. The simplicity of her white silk wedding dress, designed by Clare Waight Keller of Givenchy, with its bateau neckline, three-quarter length sleeves, and stark, unadorned but stunningly simple bodice and skirt, coupled with the extravagant veil, five metres long and three metres wide, heavily embroidered with two of her favourite flowers (wintersweet and California poppy, as well as the fifty three native flowers of the various Commonwealth countries, and symbolic crops of wheat, and a piece of the blue dress that the bride had worn on her first date with the groom), gave out a powerful message. All bridal gowns make statements. Diana, Princess of Wales, according to her friend Carolyn Pride, used hers to announce to the world, ‘Here I am.
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