The Anatomy of a Mermaid Gown: Velvet, Taffeta, and 80s Glamour

When people think about 1980s fashion, they usually go straight to the obvious stuff—huge shoulder pads, loud colors, all that slightly chaotic energy. And yes, that was part of it. But if you actually look at high-end evening wear from that time, it was… different. Much more structured. Dramatic in a very intentional way.

One silhouette that really stood out was the mermaid gown. It wasn’t trying to be quiet or minimal. It was meant to be noticed, almost demanded attention in a way.

At The Princess and the Platypus Foundation, inside the digital space of the Princess Diana Museum, there’s a piece that kind of sums all this up perfectly—a black velvet and white taffeta gown by Murray Arbeid. It’s one of those dresses that doesn’t just sit there, it sort of tells a story on its own.

The Heavy Contrast of Velvet and Taffeta

What makes an 80s mermaid gown interesting is the mix of fabrics. Not just for looks, but for structure too.

In this Arbeid design, the bodice is made from deep black velvet. And velvet, honestly, was everywhere in royal fashion back then. It absorbs light in a way that makes the color feel deeper than it actually is. Almost like it has layers. It’s also quite heavy, which helps it sit properly on the body… doesn’t shift around too much.

Then comes the lower part—the tail. That’s where the white taffeta comes in. And it’s basically the complete opposite of velvet. Crisp, slightly shiny, and yeah, it makes that soft rustling sound when you walk. Designers loved that. Because it meant they could build volume without the fabric collapsing. The pleats, the flare at the knees—it all holds.

The Windsor Castle “Twinning” Moment

There’s actually a story tied to this dress, which makes it even more interesting.

Back in June 1985, at Windsor Castle—Prince Edward’s 21st birthday—Natasha Fairweather showed up wearing this exact Murray Arbeid gown. Same one. And then she sees Princess Diana… wearing it too.

Not a wonderful moment, honestly.

Natasha apparently thought about leaving altogether, which is understandable. But the Queen Mother, as the story goes, told her something along the lines of—well, if Diana chooses ready-to-wear instead of custom, this kind of thing will happen.

And Diana? She didn’t seem bothered. She simply dismissed it with a laugh and carried on with the evening. Which, in a way, says a lot about her. Also says something about the dress itself—it was clearly popular enough that more than one person wanted that exact look.

Preserving the Silhouette in 3D

The tricky part with gowns like this is preservation. Velvet and taffeta don’t age that well if they’re not handled carefully. They crease, lose texture, and sometimes even shape.

That’s where the Princess Diana Museum comes in. Instead of just displaying it traditionally, the gown has been recreated using 3D technology. So you can actually look at it from every angle. The way the velvet hugs the upper body, the way the taffeta spreads out—it’s easier to understand when you can sort of “move” around it.