The bridal gown Miss Mary Donaldson white duchess satin which shines like mother-of-pearl. The gown is made up of long panels that open 10 centimetres from the waist, and are sewn in such a way that between each panel old lace, which is almost 100 years old, can be seen. The lace originates, as does the veil, from nuns in Connaught,  Ireland. The luminous mother-of-pearl colour of the satin tones perfectly with the old lace.

The sleeves are called ‘Calasleeves’ by the designer, Uffe Frank, because they fold around the arms like the Cala lily.

8 metres of the old lace has been used for the gown itself, and 24 metres of duchess satin which is fully-lined with silk organza. 23½ meters of duchess satin has been used for the train, which is 6 metres long measured from the waist. The material has been doubled and stiffened with 15 metres of heavy organza. Additionally, 31 metres of tulle has been used to hold the skirt out at the back. This tulle has been edged  and finished with 100 metres of chantilly lace from France.

The Bridal Veil
The veil is of Irish lace which, with two pieces of lace bordering, a handkerchief and a fan, was a gift to the late Queen Ingrid's mother, Crown Princess Margret of Sweden. She had used the veil and the lace for her wedding in St. Georges Chapel, Windsor on 15 June 1905. Queen Ingrid also used these pieces (the wide and narrow lace on the train) for her own wedding in Storkyrkan (Stockholm Cathedral) in Stockholm on 24 May, 1935. Queen Anne-Marie used the veil and only the narrow lace on her gown for her wedding in Athens on 18 September 1964. Queen Margrethe also used the veil and only the wide lace on her gown for her wedding in Holmens Naval Church on 10 June 1967. Princess Benedikte used the veil and also the wide lace on her gown for her wedding in Fredensborg Place Chapel on 3 February 1968. The veil has since been worn by Princess Alexandra zu Sayn-Wittgenstein-Berleburg on 6 June 1998 and by Princess Alexia of Greece, on 9 June 1999.

The Designer
Uffe Frank was trained at the College Arts and Crafts in Copenhagen in 1985 and thereafter studied for a year at the Royal College of Art in London, where he continued his studies to become a designer.

Previously he had been apprenticed to the legendary haute-couture designer, Jørgen Bender, who for many years had created and designed the grand gowns for the Danish and Swedish Royal families.

Uffe Frank has also worked for Birger Christensen, and in the fashion houses of Valentino and Giorgio Armani. Today has his own studio in Milan, Italy.

The bridal gown was created according to Mary Donaldson’s own ideas and wishes, in close co-operation with Uffe Frank.

The Tailor
Birgit Hallstein is 34 years old and is a fully qualified tailor working with the Danish fashion designer Lars Andersen. This is a craft with proud traditions, which Birgit Hallstein continues to follow in her work with the Crown Princess’s bridal gown. Birgit Hallstein has been a fully trained tailor for 13 years and works with all aspects of the process, from sewing and cutting, and from haute couture to theatrical costumes.

The Jewellery
The bride’s tiara is a gift from Her Majesty the Queen and His Royal Highness the Prince Consort.

The future Crown Princess has had a new pair of earrings made for her wedding. The earrings are made of platinum with brilliant-cut diamonds and South Sea Island pearls. They are hand-made by the jewellery designer, Marianne Dulong.

The Handkerchief
On her wedding day the bride has chosen to carry a very beautiful lace handkerchief made by the lace-making teacher, Astrid Hansen. The pattern is a well-known Tønder pattern (Tønder is a small town in southwest Jutland where the finest lace is made) called “The great heart of Denmark”. When the engagement was announced on 8 October 2004, Astrid Hansen began her work on the handkerchief.

Astrid Hansen worked 6 hours a day. The plan was that the lace should be completed by Easter and on Easter Monday the last needle was set and the lace removed from the pins.