Summer sizzles with Biltmore Wines Posted on May 26, 2016 at 12:00 am.Written by Karina Hux Summer is here. With just those three words, you open up a world of warm weather gatherings with family and friends. When you add Biltmore Wines to the mix, you’ve got a great recipe for outdoor entertaining! “Wines can be a great accompaniment to summer, so don’t overlook the possibilities of refreshing and food-friendly pairings,” said Heather Jordan, wine marketing director. “Especially if you’re planning an outside event like a barbecue, picnic, or pool party.” For special summer holidays like the 4th of July, we’ve created our Red, White & Blue Trios to pair perfectly with food, fun, and fireworks. Whether you prefer still or sparkling wines, there’s a trio that’s perfect for your celebration: Red, White & Blue Still Wine Trio Vanderbilt Reserve 2012 Russian River Valley Pinot Noir Biltmore Estate American White Blend Biltmore Reserve 2015 NC Chardonnay Red, White & Blue Sparkling Wine Trio Biltmore Estate Blanc de Noir Biltmore Estate Blanc de Blancs Biltmore Estate Brut “Sparkling wines are really exciting for summer,” Heather said, “and you can easily create all kinds of bubbly cocktails like our Sparkling Blackberry Punch. You can make one for yourself, or mix up a batch ahead of time to enjoy at your next outdoor gathering.” Tip: if you’re mixing a larger amount for a group, wait until just before serving to add our Pas de Deux Moscato so the bubbles don’t dissipate too soon.
A Great Camp in the Great Outdoors Posted on May 12, 2016 at 12:00 am.Written by Karina Hux In the late 1800s, it was fashionable for families like the Vanderbilts to have a getaway “great camp” or lodge in the Adirondacks so that they could enjoy outdoor activities such as fishing, hunting, and boating. With Biltmore House complete, George Vanderbilt was able to focus on creating a similar getaway lodge so that family and friends could enjoy the beautiful, remote wilderness that comprised much of his 125,000-acre estate in Western North Carolina. Photo above of Buckspring Lodge, ca. 1920; donated by Mrs. William Todd Ashby. Richard Howland Hunt (son of Biltmore architect Richard Morris Hunt) designed such a camp structure completed in 1896 and named Buckspring Lodge. Located on Mount Pisgah about 20 miles from Biltmore, the lodge was made from chestnut, yellow poplar, and hemlock logs and consisted of three connected buildings; a main lodge, kitchen, and dining building. Later, an assistant ranger's house was built in 1900, with a stable and additional four-room house added in 1903. Perched on the side of the mountain, Buckspring Lodge afforded guests spectacular views of the pristine wilderness. Photo above, ca. 1920; donated by Mrs. William Todd Ashby. In today’s terms, Buckspring Lodge would probably be described as “rustic elegant” in design. Inside, there were wood-burning fireplaces. Eventually the lodge was equipped with electricity, telephone service, indoor plumbing, and hot water, all powered by onsite sources. Outside, there was an orchard, tennis and croquet courts, garden, and beehives. In the summers, sheep grazed on the open land at this high elevation, and a Jersey cow was sometimes kept here when the Vanderbilts were in residence. Photo above, ca. 1920; donated by Mrs. William Todd Ashby. In 1910, a major construction project was undertaken to build a road from Stoney Fork in the Hominy Valley west of Asheville to Buckspring Lodge so it could be accessed by motor vehicle. Mr. Vanderbilt purchased the old Stoney Fork log school and church building in 1911, and had it rebuilt at the lodge for a guest house that later became known as the “Honeymoon Cottage.” In 1912, a log cabin knowns as the ranger's house was erected with hewn logs from three cabins located on Vanderbilt property elsewhere. A full-time ranger and caretaker lived at Buckspring, and a cook and other staff came to stay while the family was at the lodge. After George Vanderbilt’s death in 1914, Edith sold around 90,000 acres of land to the U.S. government for the creation of Pisgah National Forest. But she retained Buckspring Lodge and nearly 500 acres surrounding it, and the family continued to enjoy this retreat for decades. When the Blue Ridge Parkway was being developed in the 1950s, Buckspring Lodge and its surrounding property was sold to the state of North Carolina and then transferred to the U.S. Department of the Interior to be incorporated in the Parkway property. Restoration of the lodge proved to be too costly for the Park Service, and it was razed in 1961. Robert C. (Bob) Allen procured logs and materials from the Ranger's Cabin and erected a log cabin in Asheville's Royal Pines neighborhood in the early 1960s. The Allen family, represented by Ernest H. Allen and his sons, Bob and William E. (Bill) Allen, were longtime estate residents. Ernest and Bill both served as farm managers for decades and Bob drove a truck for Biltmore Dairy. Bob and his wife Phyllis lived in the Royal Pines cabine until his death in 1990. Upon Phyllis’ passing in 2014, Bob’s children Dick and Susie Allen inherited this historic cabin and contributed it, plus many furnishings, to Biltmore in memory of the Allen family. In 2015, Biltmore dismantled the cabin and carefully reassembled it piece-by-piece on the estate. It now serves as the Outdoor Adventure Center in Antler Hill Village, where guests can arrange outdoor activities including fly-fishing lessons, trail rides, Segway rides, and much more. Stop by to see this cherished part of Biltmore’s history, and plan your own adventures in our 8,000-acre backyard.
Restoring Our Fly-Fishing Boat Posted on May 5, 2016 at 12:00 am.Written by Karina Hux Biltmore’s wooden boat has seen countless fly-fishing lessons and guide trips on the estate, as well as plenty of guests admiring its iconic beauty in the Lagoon. After 10 years of solid use, it was time for some restoration. Though preservation projects are no stranger to Biltmore, our Construction Trades Department had never specifically worked on a wooden boat before. But Jason Pleva, a Carpenter on Biltmore’s Construction Staff, and Tim Hawkins, a painter at Biltmore, were eager for the challenge – a project that took about 50 hours total. The first task was to vacuum out sand and mud that had built up over the years. Then, the floor was scrubbed clean and some of the interior floor boards were replaced. The entire boat and its components were then sanded at Biltmore’s Carpenter Shop, and taken to our old farm garage to apply the marine varnish with no dust and debris floating in the air. “I did enjoy the project and was very proud of the final result. It's not every day one finds himself in a position doing something he loves to the degree that work doesn't really seem like work,” said Tim. This project is just one of the many examples of Biltmore employees making a difference every day to preserve our estate and ensure the level of gracious hospitality inspired by George Vanderbilt. Thank you to Tim, Jason, and the entire Construction Trades Department for all of their hard work!
Wedding gowns fit for a queen Posted on April 25, 2016 at 12:00 am.Written by Karina Hux 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, 1840Queen 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, 1923Albert, 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, 1937The 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, 1947Princess 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, 1956Prince 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, 1981Prince 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, 2011Prince 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.
Top 10 Tips for Custom Framing & Preserving Special Photographs Posted on April 15, 2016 at 12:00 am.Written by Karina Hux 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. See more Biltmore frames. Find a Biltmore retailer near you.
A Vigilant Garden Rescue Posted on April 13, 2016 at 12:00 am.Written by Karina Hux Early spring often brings unpredictable weather patterns, and 2016 is no exception. On the evening of April 9, forecasted temperatures in the mid-20's generated concern among Biltmore's garden crew. Fragrant, colorful wisteria draped across Biltmore's Pergola is an iconic view that our guests have come to love each year and with the early buds just beginning to form and bloom, Garden Crew Leader, Clare Whittington, knew they had to act quickly. Borrowing patio heaters from Biltmore's Engineering Services department, Clare and crew-member Steven Ayers moved the heaters into place around 12:30 a.m. With only 6 hours of gas, they worked with forecasters from Rays Weather Service to ensure they turned on the heat in the most critical hours. Steven stayed throughout the night to monitor the heaters and keep watch — demonstrating the amazing commitment our employees have to their work. “We were not only worried about losing this year’s bloom, but we were also afraid of the wisteria reacting with a burst of vegetative growth. This happened after the freeze of ’07, and it took many years to get the display back to where it is now. Vegetative growth is the long whips that don’t bloom, and create a bad tangle every year,” said Clare. Clare expects this year's wisteria to be in full bloom the week of April 18. Many of our guests enjoying Biltmore Blooms and the Pergola wisteria will be unaware of these above-and-beyond efforts of our garden crew, but for those who are, we hope it makes you appreciate its beauty even more!
Biltmore wines capture the essence of spring Posted on April 4, 2016 at 12:00 am.Written by Karina Hux Each year, inspired by Biltmore’s gardens bursting with dazzling tulips and other spectacular blooms, our winemakers carefully handcraft a special release to celebrate the season. For 2016, this special seasonal release is a semi-sweet white with a touch of fruitiness—ideal for outdoor picnics and sipping while soaking up the sunshine. “This wine is aromatic, with hints of peach and honesuckle,” said Jill Whitfield, Biltmore Wine Marketing Manager. “It tastes as if we’d bottled the essence of spring, and we’re excited that our guests can find it in their own neighborhood grocery stores and wine shops.” In addition to handcrafting this delicious wine, we also create a beautiful new label for the bottle. “We want the label to convey the expectation and sense of celebration inspired by our gardens and the return of warmer weather,” Jill said. To illustrate the idea of sun-kissed gardens and rebirth, Jill works closely with Biltmore’s Assistant Art Director Lisa Vogel. The two collaborate on what the label might portray, and Lisa creates a series of sketches that will evolve into the final concept. “For the past few years, I’ve created variations on a theme based on the soft blooms and buds that herald the return of spring in Biltmore’s gardens,” said Lisa. “I add layers of botanical texture and color for a sense of richness, and then I add a slightly whimsical note like a bee or a bird that makes the design more distinctive and light-hearted.” This year’s seasonal release label features a charming butterfly amidst a bouquet of glorious old-fashioned roses. “Jill wanted to draw the attention of our customers and reinforce the connection between Biltmore Wines, spring blossoms, and the welcome return of warmer weather,” Lisa said of her initial drawings. “So I drew roses, buds, and greenery as a backdrop, and focused on bringing out the playful little character of the butterfly once we knew where the text would be positioned on the label.” After Jill approved the label design, Lisa worked with specialty printers to ensure that the colors and detail of the artwork would be preserved in the printing process. “There are so many options to make the design pop out on the shelf,” said Lisa, “from papers and varnishes to metallic inks and embossed patterns—today’s wine label printers can really help bring the finished product to life—and we certainly want everyone to see the bottle and think ‘spring!'” Featured images: pages from Lisa’s sketchbook paired with finished wine labels; Lisa displaying a bottle of our 2016 Seasonal Release White Wine for which she designed the label
Discover our Wedgewood Bedding Collection Posted on March 11, 2016 at 12:00 am.Written by Karina Hux No other brand in the world enchants and delights like Biltmore. It’s a timeless way of life inspired by George and Edith Vanderbilt’s vision of gracious living and hospitality. Grounded in beauty and refinement, the spirit of Biltmore is captured in every stylish detail and exquisite element of the products our partners produce. The Breakfast Room is a wonderful example of inspiration. From its richly-textured leather wall coverings and silk cut-velvet fabrics to the bright colors of the two Renoir paintings displayed on the walls, the room envelopes guests in a warm, intimate setting full of rich details. It is the fireplace-surround, however, that connected beautifully to our Wedgewood Bedding Collection. Although we have few archival notes on the origin of the surround or its installation at Biltmore, the delicate blue and white tiles are late 19th century jasperware, which is a type of colored stoneware to which a relief decoration—usually white—is applied. The surround in the Breakfast Room is after the style of legendary British potter Josiah Wedgwood. Inspired by the soft wedgewood blue-color hues in these jasperware-style tiles, our gorgeous woven jacquard Wedgewood Bedding brings a classic note to your bedroom with hints of color that harmonize with existing décor. Enjoy this refined bedding ensemble complete with a tasteful collection of coordinating decorative pillows and beautiful window treatments.
Wedding Dress Silhouettes Through the Years Posted on March 7, 2016 at 12:00 am.Written by Karina Hux For many brides, their wedding dress is the most poignant symbol of their marriage, woven with symbolism and tradition as well as fashion and style. During the Fashionable Romance: Wedding Gowns in Film exhibition, we are thrilled to offer our guests a glimpse into bridal fashion spanning the 1700s to 1930s, showing how historic trends still influence today’s brides. All of the costumes seen in Fashionable Romance were designed and made for the screen, but still adhere closely to the period they represent. Each was designed by Cosprop, a well-known design house that prides itself on authenticity, accuracy, and detail in recreating exquisite costumes. From dramatic full skirts of the 1700s, to sleek and slim fashion silhouettes of the 1930s, the gowns exhibited in Biltmore House tell a story of evolving styles and tastes. One of the most intricate gowns displayed is the dress worn by Keira Knightley as Georgiana Cavendish in the 2008 film, The Duchess; designer Michael O’Connor won an Academy Award for Best Costume Design for his work in the film. This dress is an excellent illustration of a formal dress in 1700, with a wide silhouette and full skirt held out horizontally by panniers or hooped petticoats. In this film, the Duke of Devonshire is seen cutting the wedding dress from his new Duchess, which is accurate for this era, as many brides would be sewn into their dresses. Well into the 1800s, the average women’s wedding dress was simply her best dress and it wasn’t until later that the white wedding dress became standard fare. During this time, dress silhouettes became slimmer and empire waistlines were popular. The gowns worn by the Dashwood sisters in the 1995 film, Sense and Sensibility are very different yet accurate to each woman’s status. Emma Thompson, playing Elinor Dashwood, wears a simple muslin dress and crushed velvet spencer jacket in her marriage to the refined but poor minister, Edward Ferrars, played by Hugh Grant. It’s a clear contrast to her sister’s marriage into wealth, in which Kate Winslet as Marianne Dashwood wears a detailed beaded gown with a full length petticoat. In the late 1800s and early 1900s, small waists were the desired look; to achieve this, corsets were commonly worn to draw in the stomach paired with frills on the bodice. High necklines and collars were popular, as represented by the gown from the 1996 Hamlet worn by Julie Christie, displayed in Mrs. Vanderbilt’s Bedroom. Brides during this period also favored veiled hats and long trains—styles that are beginning to resurface in today’s bridal fashions.
And the Oscar goes to. . . Posted on January 11, 2016 at 12:00 am.Written by Karina Hux As time for the Academy Awards approaches, we are drawn to details that make Oscar-winning films so memorable—including the extraordinary costumes that bring cinematic characters to life. Our Fashionable Romance: Wedding Gowns in Film exhibition beginning February 12 gives you the opportunity to take a closer look at costumes from seven films nominated for an Academy Award in Costume Design—including two Oscar winners! Anthony Powell is an English costume designer and three-time Oscar winner; his interpretation of 19th-century attire for Tess was honored with the Academy Award in 1980. The wedding dress he created for Tess Durbyfield (played by Nastassja Kinski), is displayed in Biltmore’s Carriage House. Powell has been nominated for six Academy Awards; his other wins came for 1972’s Travels with My Aunt and 1978’s Death on the Nile. Another English costume designer—Michael O’Connor—won the Academy Award in 2008 for The Duchess, where he created 30 different gowns for Keira Knightley in her role as Georgiana Cavendish, the Duchess of Devonshire. The clothing styles reflected the Duchess’ celebrity status as the center of glamorous English society of the time, and range from the elaborate gown worn for her wedding to simpler dresses in later years; you can see examples of both styles exhibited in the Banquet Hall. O’Connor was also a nominee in 2011 for Jane Eyre and in 2013 for The Invisible Woman. The Fashionable Romance exhibition also includes costumes from five other films whose costume designers were nominated for Academy Awards in Costume Design: Out of Africa, 1985; designed by Milena Canonero, a nine-time nominee and four-time Oscar winner for Barry Lyndon, Chariots of Fire, Marie Antoinette, and The Grand Budapest Hotel Howard’s End, 1992 and Sense and Sensibility, 1995; designed by Jenny Beavan and John Bright, six-time nominees who won the Academy Award for A Room with A View Emma, 1996; designed by Ruth Myers, two-time nominee Hamlet, 1996: Alexandra Byrne, four-time nominee and Oscar winner for Elizabeth: The Golden Age Photos Top: Hayley Atwell as Lady Elizabeth Foster and Keira Knightley as Georgiana Cavendish, Duchess of Devonshire in The Duchess. Copyright 2008 Courtesy of Paramount Pictures. Left: Ralph Fiennes and Keira Knightley as the Duke and Duchess of Devonshire in The Duchess. Copyright 2008 Courtesy of Paramount Pictures. Right: Meryl Streep as Karen Blixen in Out of Africa. Copyright 1985 Universal Pictures Limited. Courtesy of Universal Studios Licensing LLC.