Biltmore’s Winery: A Tradition of Evolution

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Biltmore’s Winery is the most visited in the country, producing about 150,000 cases of wine annually. Our award-winning wines are available on the estate and also distributed across the country and even online.

Let’s take a moment to reflect on how we got here. And as it turns out, the Winery’s tradition of evolution is even older than the Winery itself.

Biltmore Dairy milkman and delivery truck, 1930-1940s

The Days of Biltmore Dairy

Before it became the Winery in Antler Hill Village, the century-old structure was the main dairy barn for Biltmore Dairy. Designed by Richard Howland Hunt, son of Biltmore architect Richard Morris Hunt, and farm manager George Weston, the barn accommodated 140 cows for one of the largest dairy operations in the Southeast.

Biltmore Dairy was the most successful of all of Biltmore’s enterprises, providing the estate with a financial cushion that would see it through George Vanderbilt’s death, two world wars, the Great Depression, and beyond.

After Biltmore House opened to the public in 1930, guests could view the milking rooms and processing areas in the dairy barn, sample the milk, and buy ice cream. Biltmore Dairy was so successful and its products were so well-known that it became an attraction in its own right for estate visitors.

It was around this time that the dairy’s delivery wagons were replaced with trucks and the fleet grew from 30 vehicles to over 400 in just 15 years.

Unfortunately, the market gradually shifted and, like many other smaller, family-run businesses at the time, Biltmore Dairy became unable to compete with larger commercial operations. With the advent of chain grocery stores came a cheaper, more convenient option for consumers to purchase milk, eventually making door-to-door dairy delivery obsolete. In April of 1985, Biltmore Dairy was sold to Pet, Inc.

Philippe Jourdain, Biltmore’s first Winemaster

A New Drink, A New Day

Even before Biltmore Dairy was sold, George Vanderbilt’s grandson and Biltmore’s owner, William A.V. Cecil, was asking: “What’s more appropriate for a French château than vineyards and a winery?”

In the early 1970s, he planted the first vines on the property, just below Biltmore House, and bottled the inaugural vintage in the Conservatory basement.

Less than pleased with the product, Mr. Cecil traveled to France in search of expertise. He returned with Philippe Jourdain, Biltmore’s first Winemaster. Together, the pair moved the vineyards to their current location on the west side of the estate and established Biltmore Estate Wine Company.

Biltmore’s Winery in Antler Hill Village

Opening Biltmore’s Winery

The conversion of the dairy barn into a state-of-the-art winery began in 1983. Mr. Cecil’s son and Biltmore’s current CEO, Bill Cecil, assumed the leadership role in overseeing the renovation.

In 1985, the Winery opened to the public in what Mr. Cecil called, “the most historic event since my grandfather had opened his estate to his family on Christmas Day ninety years earlier.”

Since the opening of the Winery in Antler Hill Village, we’ve celebrated the release of new Biltmore Wines, expanded our Tasting Room, opened a Wine Bar, and developed tours featuring the Winery’s production facility and wine tastings.

Biltmore’s Winemaker, Sharon Fenchak

The Evolution Continues

French native Bernard Delille joined Biltmore as an assistant winemaker in 1986—making this year his 30th anniversary with Biltmore Estate Wine Company. Bernard was promoted to Winemaster and Vice President of the Winery when Philippe retired in 1995.

Sharon Fenchak joined the team a few years later and now serves as Biltmore’s Winemaker. Her research in grape-growing technology and wine production methods in combination with Bernard’s traditional and artistic perspective proved to be a perfect combination for the Winery. Sales have continued to grow and retail distribution has since expanded.

Indeed, the evolution continues, while at the same time, throughout the dynamic history of the Winery, Biltmore’s winemaking philosophy holds: “To keep each wine true to varietal character, food-friendly, and consistent from vintage to vintage.” 

We invite you to enjoy the fruits of our labors by visiting our estate winery during your next visit, shopping for our award-winning wines online, or finding a retailer near you that carries Biltmore Wines.

From The Age of the Biltmore

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Richard Morris Hunt by Levi

After their visit to Biltmore in March 2016, Horizons fourth and fifth graders of Euchee Creek and South Columbia Elementary Schools in Columbia County, Georgia, created a book titled The Age of the Biltmore. The book includes impressive writing and illustrations by the inspired students.

As George Vanderbilt intended for his home to be an inviting and comfortable place to visit and study, we think he would be proud that students of all ages can still come to Biltmore to learn about the past and apply those lessons to their current courses.

We couldn't help but share the amazing work of these students. Here are some excerpts and illustrations from The Age of the Biltmore:

On Biltmore House

Biltmore has 250 Rooms, 65 fireplaces, and 34 bedrooms. The inside of the house has four acres of floor space, and the walls contain more than 11 million bricks.
– From “Richard Morris Hunt” by Wesley

Biltmore Elevator by Gabe

The gardens were being designed by Frederick Law Olmsted, the man who designed Central Park in New York, and Richard Morris Hunt, the man who built the base of the Statue of Liberty, drew up the plans for the Biltmore.
– From “President Cleveland” by Utsab

Did you know the Biltmore had the first passenger elevator in North Carolina? The carriage cost $250 at the time it was built… When I saw the elevators at the Biltmore, I was really surprised that they still had the original elevators in use.
– From “The Amazing Technological Features of the Biltmore” by Drew

Amazingly, in 1895 when the doors of the Biltmore were open to guests on Christmas Eve, it had five refrigerators, which all were electrically-powered. The original model held up to fifty gallons of liquids and five hundred pounds of meat and vegetables.  – From “Chilling at the Biltmore” by Gabe

On the Vanderbilts
Who was the person who planned to build the biggest house in US history? It was George Washington Vanderbilt. You might have heard his name in history books or maybe in an old newspaper. His grandfather was Cornelius 'The Commodore' Vanderbilt.
The Commodore's Ship by Roman– From “George Washington Vanderbilt”
by Gage

He was a man who made an empire out of nothing but a dream and one hundred dollars.
– From “The Commodore” by Roman

He was in charge for eight short years, but during that time he doubled the family fortune from 100 million to 200 million.
– From “William Henry Vanderbilt”
by Andrew

The Vanderbilt family is a very famous and historical family. They were also a wealthy and powerful family. The Vanderbilt family tree still exists today.
– From “The Famous Vanderbilt Family” by Emma

On the estate
Dr. Carl Schenck founded the Biltmore Forest School in 1908… The conservation techniques that were taught at the school are still influential today!
​– From “The Biltmore Estate Forestry” by Jayden

The Biltmore Dairy Farm by David

Frederick Law Olmsted, the person in charge of the landscape, told George Washington Vanderbilt that he needed a dairy farm so that the soil could be richer from the manure and Biltmore could use the milk for food.
– From “The Elegant Biltmore Dairy Farm”
by Quinn

The dairy farm at the Biltmore served many purposes, it supplies the estate with milk and other dairy products, it gave the estate some income to help it sustain itself, and the manure from the cows helped plants stand tall.  – From “Dairy Farming” by William

On the era

Ladies were not supposed to refer to another adult by his or her first name in public. For instance, a man named George Vanderbilt would be called Mr. Vanderbilt in public and never George.
​– From “Etiquette Rules for Ladies” by Kyra

Cocktail Dress by Talia

At Biltmore Estate, they would always have parties, and the guests used the latest trends in makeup, like pancake makeup.

– From “Cosmetics at the Turn of the Century” by Ruby

When a slow dance would come on men were supposed to ask a lady to dance, not sit on the side and watch. Gentlemen were encouraged to always thank a lady after every dance. Another rule was that ladies should never refuse a gentlemen for one dance and say yes to another unless it was promised before the dancing started.  – From “Etiquette” by Aeriel

Images

Feature: Biltmore House by Landen, “The History of the French Chateau”

Top right: Richard Morris Hunt by Levi, “Building the Biltmore”

Top left: Biltmore Elevator by Gabe, “Chilling at the Biltmore”

Mid right: The Commodore's Ship by Roman, “The Commodore”

Bottom left: Biltmore Dairy by Quinn, “The Elegant Biltmore Dairy Farm”

Bottom right: Cocktail Dress by Talia, “1920's Evening Wear”

 

 

 

 

 

Looking Back at the Flood of 1916

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While many of the events in Biltmore’s long history are joyous, some are solemn occasions that have shaped the estate and our community. 

On September 27, 2024, heavy rain and high winds from Tropical Storm Helene swept through Western North Carolina, causing record-level flooding throughout the region. This natural disaster echoes the Asheville flood of July 16, 1916, when water reached historic levels far beyond the banks of the Swannanoa and French Broad Rivers, causing widespread damage at Biltmore and throughout the western end of the state.

As we reflect on the historic flood of 1916, we invite you to discover the stories that have shaped our history and inspire our resilience today.

Archival image of Biltmore greenhouses during the 1916 flood.
Biltmore Greenhouses, 1916. Courtesy of the National Park Service, Frederick Law Olmsted National Historic Site.

The End of an Era

Prior to the flood of 1916, Biltmore’s Nursery was one of the top nurseries in North America. Founded in 1889, it was established to supply the wide variety of trees, shrubs, and other ornamental plants that Frederick Law Olmsted required to complete the estate’s industrious landscape design.

It grew to be a beacon within the horticultural world as it opened to public buyers and supplied customers across the United States with unsurpassed variety, quantity, and quality of ornamental plants. The nursery also contributed to George Vanderbilt’s vision of a self-sustaining estate, and provided income at a time when the estate was still under construction.

Archival image of people looking at a flooded field at Biltmore.
Swannanoa River cutting off Biltmore from Asheville, 1916. North Carolina Collection, Pack Memorial Public Library, Asheville, North Carolina.
Archival image of the Lodge Gate at Biltmore.
Biltmore’s Lodge Gate, 1916. North Carolina Collection, Pack Memorial Public Library, Asheville, North Carolina.

Uncontrollable changes

On March 6, 1914, the estate experienced a crushing loss with the untimely death of George Vanderbilt. Left with a large estate to manage, Mrs. Vanderbilt was already considering downsizing various estate operations, including the nursery. She was also pondering the donation of the Biltmore Herbarium, a subsidiary of the nursery, to a small local educational institution.

However, before decisions could be made and implemented, the flood of 1916 provided the last word. 

The ruin from the flood was so massive that it closed the doors of the nursery’s large-scale commercial operation, destroyed three-fourths of the Biltmore Herbarium, and ruined many rare botanical volumes that were part of the estate’s botanical library. 

Chauncey Beadle, estate superintendent and head of the Biltmore Nursery, wrote after the flood that “We are heavy losers, something like 85% of our nursery stock having been destroyed.”

Archival image of the 1916 flood at Biltmore.
Flooded field, 1916. Courtesy of the National Park Service, Frederick Law Olmsted National Historic Site.

A Legacy withstanding the test of time

While the flood’s damage was permanent, the legacy of the Biltmore Nursery was timeless. The specimens grown at Biltmore before the flood found homes on the estate’s grounds and outside of Biltmore’s gates thanks to the nursery’s commercial success. 

In particular, the North Carolina Governor’s mansion in Raleigh received a donation of various shrubs and plants in 1898 for the beautification of the Executive Mansion Square. Then in 1908, a shipment of roses and sequoia trees were delivered to Dr. Booker T. Washington at what is now Tuskegee University.

Various plants and trees were shipped across the country and overseas before the flood, and continue to thrive at botanic gardens, public parks, universities, and private landscapes. Beadle and Edith Vanderbilt arranged for the surviving parts of the Biltmore Herbarium and botanical library to be salvaged and donated to the Smithsonian Institution.

While the flood may have ended the business side of the nursery, the landscapes at Biltmore and beyond serve as a living testament to the vision and business acumen of Frederick Law Olmsted, Chauncey Beadle, and George Vanderbilt.

Best-kept secrets: Biltmore’s alley gardens

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With acres of vivid colors and lush plantings, the gardens of Biltmore are so breathtaking that some guests never venture inside the Conservatory during the summer months. According to Jordana Chalnick, Conservatory Horticulturist, however, those who stay outside are missing out on some very special displays in the “back alleys” of the Conservatory.

A working conservatory

“Biltmore’s Conservatory was originally designed to be a functional workspace for growing and nurturing plants as well as an indoor garden space for guests,” said Jordana. “We continue to use it for both purposes today, and we also create intriguing displays that draw visitors through the Conservatory and into the alleys behind it.”

Jordana has been with Biltmore since 2006, putting her horticulture degree to use first in the Azalea Garden and then in the Conservatory. She became Conservatory Horticulturalist in 2013 and has been instrumental in creating the displays that make the Conservatory a must-see during any Biltmore visit.

Alleys of the Conservatory

“In the mid-1990s, there were just a few hanging baskets and some of the larger trees in the alleys,” Jordana said. “Gradually, the staff began lining the alley walls with plants and then over the years adding under-plantings to the larger pots. The alleys have definitely evolved from what they were initially to the more designed and elaborate displays we do today.”

Heating up and keeping cool

Jordana noted that there are actually two alleys—one between the cool room and the sitting room and one between the hot room and the sitting room.

This year, the cool alley, which was designed by Conservatory Gardener Kathryn Marsh, features fragrant plants that create a shady respite from the sun during the hot summer months. Having all the different fragrances makes it a nice space in which to take break and relax for a while.

The hot alley features water plants using dwarf versions of many of the species in the Italian Garden.

“I’ve always liked the idea of displaying the water plants in a way that guests can have closer access to them than they do in the Italian pools,” Jordana said. “I took lots of inspiration from pictures of gardens in Bali and Thailand where they incorporate water plants seamlessly into the landscape as opposed to having a special area for them.”

Alley installation

As far as installing the alleys, the Conservatory crew does as much as possible ahead of time. They received most of the cool alley’s fragrant plants from Florida in March, and the dwarf lotus plants for the hot alley were stored in the Italian Garden pools until early June.

Lotus Flower in Italian Garden Pool

“We already have a general idea of which plants will go in which alley, so we will generally load up a truck load for one alley, haul it up and unload it,” said Jordana. “We have one reserve worker who helps us and we definitely get a lot of help from everyone in Historic Gardens, since our crew is pretty small and installing the alleys is a huge project.”

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Hibiscus Flower

Now that the alley plantings are installed, the Conservatory crew will maintain them throughout the summer, watering, grooming and deadheading as needed. The alleys will stay in until around mid-September when the plants need to start transitioning back to the greenhouses for winter.

“I love my job,” Jordana said, “because I get to use my creativity in designing displays as well as using all of my horticultural knowledge to keep plants happy and healthy.”

6 Biltmore Rooms Named After Artists

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Vanderbilt was an avid print collector who purchased more than 1,400 prints in his lifetime. Not only did he have personal friendships with leading artists of the era, he even named some of the rooms in his home after artists where their work was on display. Below are just a few of the rooms inside Biltmore House with names inspired by artists and how guests can see these on their tour.

Claude Room

This room was named after one of George Vanderbilt’s favorite artists, the French painter Claude Lorrain. One of the masters of 17th-century landscape painting, Claude presented nature as harmonious, serene, and often majestic. The prints on this room’s walls are after Claude Lorrain’s paintings. (See it on the winter tour rotation.)

The striking wallpaper in the Claude Room, reproduced from the original, is the same pattern that is used in the Damask Room, but in a different color palette.
The striking wallpaper in the Claude Room, reproduced from the original, is the same pattern that is used in the Damask Room, but in a different color palette.

Earlom Room

This room was named for the English engraver Richard Earlom. Vanderbilt purchased most of the prints in this room and in his collection from H. Wunderlich and Company in New York. (See it on the Upstairs-Downstairs tour.)

Raphael Room

Highly detailed engravings after the Italian Renaissance artist Raphael Sanzio d’Urbino add interest to the room’s understated décor. (See it on the Upstairs-Downstairs tour.)

Morland Room

Named for the English painter George Morland, this bedroom attracts attention with exotic Indian-style fabrics. The bed draperies are exact reproductions of hand-painted originals that adorned the Italian villa where George and Edith Vanderbilt honeymooned in 1898. (See it on the summer tour rotation.)

Van Dyck Room

Decorated in the Colonial revival style of the late 19th century, this room features prints after paintings by the 17th-century artist Anthony Van Dyck. (See it on the summer tour rotation.)

Watson Room

This room was named for the engraver James Watson. A close-up of his 1769 mezzotint after a painting by Francis Cotesand is the top photo in this blog. Fun fact: This room is the only bedroom with twin beds. (See it on the summer tour rotation.)

Everything’s Coming Up Rosés!

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Have you ever wondered how rosé wines are created?

Known as rosé in French, rosado in Spanish, and rosato in Italian, rosé is one of the oldest styles of winemaking because—in its simplest form—it involves leaving crushed red grapes together with their skins for a certain amount of time.

Rosés can range from palest pink to deep red, depending on the varietal and how long it stayed in contact with the skin.

3 main ways to create rosés:

• Saignée
When a red varietal is crushed, the first juice is drawn off and aged separately as a rosé. This process results in very fine rosés and also serves to intensify the flavor of the original red varietal.
• Maceration
A red varietal is crushed and the skins are left in contact with the fruit for up to 24 hours, depending on the desired color and flavor of the final product. This is the most common production technique for rosés and produces excellent wines, including our Biltmore rosés.
• Blending
Red and white juices are blended to create a rosé. This process is used mainly for lower-quality wines, although some outstanding sparkling rosés are created in this manner.

Where did rosés originate?

The world’s earliest red wines were probably closer to rosé than modern red wines because it was not considered desirable to leave the grapes in contact with the skins for more than a day.

Over time, Europe would become the primary producers of rosé wines, but that changed in the early 1950s as rosés were successfully introduced into American markets and emerging California wineries began creating their own versions.

By the 1970s, rosé was often referred to as “blush” wine in the U.S., and though wildly popular, the style gradually became associated with sweeter, less-desirable blended wines. Enthusiasm for rosé began to wane.

Rosé renaissance

Today, rosé wines are enjoying a renaissance as winemakers and consumers explore a range of options from traditional dryer varietals such as Grenache, Pinot Noir, Cabernet Sauvignon, and Syrah to semi-sweet offerings including White Zinfandel and sparkling Moscato versions.

Designed to be served chilled, modern rosés are excellent for sipping on their own and they also partner surprisingly well with eclectic fare such as spicy Asian cuisine and pizza.

Biltmore rosés

At Biltmore, we continue to explore new styles of rosés as our consumers’ palates evolve and new trends arise.

New for 2019, try our Biltmore Reserve North Carolina Rosé. Pale salmon in color, it features a delightful aroma with notes of strawberry, watermelon, honey, and lime. Semi-sweet and refreshing with flavors of kiwi and honeydew, it pairs well with spicy sausage, blackened chicken, and black bean burgers.

In addition, savor delicious options like our elegant and refreshing Biltmore Estate Dry Rosé with a subtle, fruit-forward bouquet followed by layers of delicate berry flavors.

For a sparkling wine as delicious as it is beautiful, try our coral-hued Biltmore Estate Blanc de Noir crafted from Pinot Noir grapes in the traditional méthode champenoise.

Springtime Project: Tussie Mussie

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Learn how to create your own tussie mussie, inspired by fashions and the language of flowers during Queen Victoria’s reign (1837-1901). During this era, flowers were considered a more modest adornment than jewelry for a young woman. A tussie mussie was sometimes tied with a ribbon, but could also be carried in a cone-shaped, decorative silver holder. They’re still used today for some bridesmaid bouquets.

Creating a Tussie Mussie

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1. Start with the bushiest flowers first and add in additional flowers in a crisscross pattern. Rotate arrangement with each new flower added. 

2. Vary the height of each flower and remove excess greenery along the stems. Cut long stems for a petite and feminine look. 

3. Measure ribbon at 18-24 inches, cut and wrap around base. Tie a traditional bow and cut tails by folding the ends of each ribbon in half.

4. Find the perfect spot to display your arrangement! Whether used at a placesetting, or as an accessory, these simple arrangements are a beautiful way to incorporate fresh spring flowers into your decor.

Wedding gowns fit for a queen

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From Queen Victoria to Princess Diana to the Duchess of Cambridge, royal wedding dresses have set fashion styles for nearly 200 years—everything from the color of the gown itself to flowers.

Several examples of royal attire as portrayed in movies are included in our exhibition, Fashionable Romance: Wedding Gowns in Film, including Queen Elizabeth’s 1923 gown and Wallis Simpson’s famous 1937 dress. Let’s take a look at the famous royals whose gowns have left their mark on the fashion scene. 

FEBRUARY 10, 1840
Queen Victoria marries Prince Albert at the Chapel Royal, St. James’ Palace in London.

In the mid-1800s, white was the color of mourning; red was a more popular color for weddings, which made it remarkable when Britain’s young queen wore a white dress for her ceremony. Details of Queen Victoria’s bridal ensemble were publicized in newspapers and in souvenirs, widely reinforcing the idea that wedding gowns—particularly for European and American brides—should be white.

Victoria’s silk satin court dress was embellished with British lace, establishing the tradition of supporting local manufacturers that royal British brides still follow. Instead of a crown, she wore a wreath of artificial orange blossoms with her lace veil, which also set the standard for generations of brides to come. See a painting of Queen Victoria in her wedding dress from the Royal Collection Trust.

APRIL 26, 1923
Albert, Duke of York (later George VI) marries Lady Elizabeth Bowes-Lyon at Westminster Abbey in London.

Best known today as the Queen Mother who died in 2002 at the age of 102, Lady Elizabeth’s wedding gown and veil were very much in the style of the 1920s; Vogue magazine described her gown as ivory chiffon moiré with bands of silver lame embroidered with seed pearls suggesting an Italian medieval robe. The way she wore her veil—combined with a wreath in a capped fashion—was on trend for the decade, which can also be seen in Cornelia Vanderbilt Cecil’s 1924 wedding photographs. See the Duchess of York’s official wedding portrait from the Royal Collection Trust.

Lady Elizabeth’s wedding also started three traditions for British royal brides:

  • On her way to the altar at Westminster Abbey, she left her bouquet of white roses and heather at the grave of the Unknown Warrior in memory of her brother, who was killed in World War I. Though her gesture was spontaneous, each royal bride since has left her bouquet at the tomb after the ceremony to honor the fallen.
  • Her wedding ring was made of Welsh gold—cherished due to its scarcity—given to the couple by the people of Wales; this tradition has continued through three generations.
  • Prior to Elizabeth and Albert’s 1923 wedding, royal ceremonies were private. Their wedding, however, was filmed in detail and shown in newsreels around the world, starting a fashion for royal wedding media coverage that continues today.

JUNE 3, 1937
The Duke of Windsor marries Wallis Simpson at the Château de Candé, Monts, France.

American socialite Wallis Simpson created the craze for her signature color “Wallis blue” when she married the former Edward VIII, who gave up the throne for his love. The nipped-at-the-waist dress and jacket created by Mainbocher reportedly was colored to match her eyes, and the ensemble showcased the designer’s incredible attention to detail; even the matching gloves created from the same blue silk crepe were specifically designed to accommodate her wedding ring. The Duchess of Windsor, known for fabulous jewelry and designer clothing, later donated her wedding dress and jacket to the Metropolitan Museum of Art. Unfortunately, the dye has faded over time, causing the dress to lose its famous “Wallis blue” color.

NOVEMBER 20, 1947
Princess Elizabeth marries Lieutenant Philip Mountbatten at Westminster Abbey in London.

British couturier Norman Hartnell was selected for the prestigious commission of designing the wedding dress for the future Queen. Post-World War II shortages meant Princess Elizabeth had to purchase material for her gown using ration coupons.

Hartnell’s design blended formality and youth in a satin dress and 15-foot circular court train. The skirt was embroidered with traditional floral motifs and decorated with crystals and 10,000 seed pearls imported from the U.S. See the official wedding portrait from the Royal Collection Trust.

 Elizabeth’s wedding dress has been seen as inspiration for both Grace Kelly’s gown worn at her 1956 marriage to Prince Albert of Monaco as well as Catherine Middleton’s gown worn at her 2011 marriage to Prince William.

APRIL 18, 1956
Prince Rainier III marries Grace Kelly in Monaco.

As befitting her position as one of Hollywood’s leading ladies before becoming Her Serene Highness Princess Grace of Monaco, Grace Kelly’s extravagant wedding gown was designed by Helen Rose, costume designer for Metro-Goldwyn-Mayer and sewn by the MGM wardrobe department in California.

The wedding itself was one of the first big royal media events. Prince Rainier gave MGM permission to film the ceremony, which was reportedly watched by 30 million worldwide at a time when many homes did not even have a television. More than 1,500 reporters arrived to cover the wedding—more than covered all of World War II—overwhelming the principality’s population of 23,000. Prince Rainier had to call in the French riot police to maintain order.

Grace’s dress for the religious ceremony is considered one of the most elegant bridal gowns in the past century. It was handmade from 125-year-old Brussels rose point lace, silk taffeta, peau de soie, tulle, and seed pearls; its high neck, lace fitted bodice, and pleated waist were major influences on bridal designs of the era. Three petticoats gave the bell-shaped billowing skirt its distinctive look. Her tulle veil measured 90 yards, and was attached to a Juliet cap adorned with seed pearls and orange blossoms.

Princess Grace donated her gown to the Philadelphia Museum of Art in 1956, where it was displayed during a 2006 exhibition. Elements from the dress are thought to be inspiration for Catherine Middleton’s bridal gown worn at her 2011 marriage to Prince William as well as for numerous fashion designers, including the Marchesa 2015 spring bridal collection.

JULY 29, 1981
Prince Charles marries Lady Diana Spencer at St. Paul’s Cathedral in London.

No question—when you think of iconic wedding dresses of the past century, the future Princess of Wales immediately comes to mind. Her gown successfully transformed the young Lady Diana Spencer into a fairytale princess. 

Lady Diana’s dress was designed by David and Elizabeth Emanuel, who wanted to make the most of the royal wedding’s worldwide spotlight; estimates put the television audience at 500 million viewers. Their creation featured a full skirt and sleeves of ivory silk taffeta, with a double-ruffled collar of pearl-encrusted lace over taffeta. But the centerpiece was the longest train in royal history—25 feet of British silk taffeta, tulle, and netting edged with beaded lace. Diana’s romantic appearance inspired wedding dresses for nearly a decade until taste shifted to slimmer silhouettes.

APRIL 29, 2011
Prince William marries Catherine Middleton at Westminster Abbey in London.

The dress that the future Duchess of Cambridge wore at her wedding to Prince William in 2011 remains a favorite with brides. According to published reports, Kate Middleton expressed her desire to combine modernity with tradition in her gown, designed by British designer Sarah Burton for Alexander McQueen.

The result was an exquisite ivory and white satin ballgown dress featuring a fitted waist, long lace sleeves, and floral motifs adorned with hand-appliqued British and French lace. The flowing skirt had soft pleats and a nine-foot train. Topping her ivory silk tulle fingertip veil—also embroidered by the Royal School of Needlework—was a Cartier “halo” diamond tiara lent to Kate by her future grandmother-in-law, Queen Elizabeth II. The entire wedding ensemble was exhibited at Buckingham Palace a few months after the wedding.

Springtime Project: Olmsted Basket

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Biltmore’s gardens were designed by Frederick Law Olmsted as his last great commission. Gentleness, charm, and naturalness are keynotes of Olmsted’s style.

The picturesque and pastoral elements of Olmsted’s gardens can be recalled in our miniature landscapes, which our Floral Team uses throughout Biltmore House and other areas of the estate as a way to bring the beauty of the outdoors inside.

How to Create a Biltmore “Olmsted Basket“

1. Gather Your Materials

To create this small garden you must first choose a container, plant materials, and accessories that complement each other and your setting.

  • Container or basket: Your container can be a basket, ceramic bowl, brass dish, or wooden box; anything deep enough to hide multiple pots and give you room to create. If you use an open weave basket, line it first with sphagnum moss so the foil and mechanics won’t show.
  • Assorted plants: The size of the pots are determined by the size of your container, but 4″ pots are most commonly used. It’s best to use plants with similar requirements such as light, water, humidity, and temperature. We recommend using some tall and low plants, some upright and some spreading to add depth. Ensure the pots should have drainage holes to protect from soggy roots.
  • Creative accessories: Use natural materials such as moss, rocks, twigs, gourds, and berries to create interest with different textures. 
  • Additional supplies: floral poly-foil or other watertight liner for your basket, floral foam, and sphagnum moss or other natural materials to use as filler

2. Designing Your Basket

  • Prepare your plants by watering them well and allowing to drain.
  • Next, line your basket carefully with florist’s poly-foil or other material to create a watertight container.
  • Begin arranging plant pots in the basket, using floral foam to stack and wedge them into position.
  • Take care not to overcrowd the plants and allow for a rambling, natural feeling with varying heights.
  • Arrange moss to cover foam or pots that may be showing and add visual interest with varied texture.
  • Add finishing touches with accessories such as rocks, twigs, or berries.

3. Display Your Arrangement

  • Choose the perfect spot inside your home to display your Olmsted-inspired creation.
  • Water with care as required by each plant. Tip: Some plants may need to be removed for watering.

From room accents to tabletop centerpieces, these long-lasting designs are a perfect way to brighten up your space. 

Top 10 Tips for Custom Framing & Preserving Special Photographs

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It’s wedding season—the perfect time to consider custom framing your beautiful photographs so you can enjoy them for years to come. From glass recommendations to matting and moulding, we’ve got the Top 10 framing tips (thanks to Larson-Juhl framing experts) to help you preserve and present your special memories!

Top 10 Framing Tips
 

1. Choose the right mat
Many people today look at mats as an opportunity to add color to the frame design, but originally mats were neutral in color and used to provide visual relief between the art and its surroundings. Regardless of color, think big: More generous mat borders enable you to focus on the art much more easily. And make sure to use acid-free mat board.

2. Consider wider frame moulding
If a frame design doesn’t include a mat, the frame size may need to make up for it. A wider frame may still be smaller than the overall picture size would have been with a mat, but it helps art look more interesting and important.

3. Use conservation-grade glass or acrylic
Conservation-grade glazing protects art from most of damage caused by harmful UV light rays. By investing a bit more in protective glazing, you will maintain the integrity of your framed art and increase its longevity.

4. Double or triple mat layers all can be the same color
Many people just assume if there are multiple layers of matting used, each layer needs to be a different color. Actually, using the same color for all layers can simplify the design and keep attention focused on the art.

5. Use clear glass for bold images and non-glare glass for muted images
Clear finish (shiny) glass or acrylic helps to maintain sharp lines and shapes, bold colors and fine details. For soft, muted images, use non-glare glass or acrylic. Non-glare (also called Reflection Control) glass has a soft finish that diffuses details and colors. It looks great when the art itself seems intentionally soft in focus or muted in color.

6. Be creative
Many pieces of art look great when framed in a moulding style that’s unexpected. Some types of contemporary art look good in a traditional or rustic frame, and an ornate frame sometimes can add just the right finishing touch to a piece of folk art.

7. Pick the right contrast
Black and white provide the highest degree of contrast of any colors, so a black-and-white photo looks best with a high-contrast frame design. Images with softer colors and contrast look best in lower-contrast frame and mat combinations.

8. Consider bottom-weighting a mat
A bottom-weighted mat is one where the border below the art is wider than the borders on top and sides. Logical reasons to bottom-weight include when the lower half of the art is darker or contains larger shapes or patterns than the upper half. You may also choose it for a classic look or for valued art that you do not want to cut down.

9. Group images
When placing more than one picture in a frame, a multiple opening mat provides the means to bring them together. It is common to use a wider border around the outer edges than the amount of space used between images. When working with more than a few pieces, it can add interest to use different mat opening shapes.

10. Add depth and variety
Special details like extra-deep, 8-ply mat boards and narrow, ornamental frames called fillets that work inside the primary frame add layers, making certain designs more dynamic and memorable.

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