Deviating from custom couture which her sister Princess Eugenie and cousins-in-law Kate Middleton and Meghan Markle wore for their weddings, Beatrice opted for vintage instead. And it wasn’t just any vintage—it was a Norman Hartnell gown borrowed from her grandmother Queen Elizabeth, who first wore the dress to the world premiere of Lawrence of Arabia at the Odeon Leicester Square in December 1962 and again at the 1966 State Opening of Parliament.

The dress, made with Peau De Soie taffeta in shades of ivory is trimmed with duchess satin and encrusted with diamantes in the bodice. Remodelled and fitted for Beatrice by the Queen’s senior dresser Angela Kelly and designer Stewart Parvin, puffed organza sleeves were added to the gown, giving it a new lease of life.

Beatrice completed her bridal look with another archival piece, the Queen Mary diamond fringe tiara worn by Queen Elizabeth herself on her wedding day. The tiara was created in 1919 by Garrard and Co. for Queen Mary, from a necklace once owned by Queen Victoria. Set against the rustic backdrop of the chapel, the outfit was definitely perfect for the couple’s “secret garden” wedding theme.

While Queen Elizabeth and Prince Philip—who are 94 and 99, respectively—have been self-isolating at Windsor Castle since mid-March, they made an exception for their granddaughter’s wedding, albeit staying socially distant.

In photos released by the Buckingham Palace, the elderly couple was spotted beaming at the newlyweds from a safe distance, and they look to be in good health. The Duke of Edinburgh was sharp in a black suit and navy blue patterned tie, while the Queen opted for a mint dress coat and matching hat adorned with organza flowers.

Other notable guests at the intimate ceremony were Beatrice’s family—Prince Andrew, Sarah, as well as Eugenie and her husband, Jack Brooksbank—and Edoardo’s family, including his four-year-old son, Christopher Woolf "Wolfie" Mapelli Mozzi. Andrew walked the bride down the aisle, while Wolfie served as the best man and pageboy. The couple’s mothers also read their favourite poems, Shakespeare's Sonnet 116; I carry your heart with me by EE Cummings, and a biblical reading, The First Epistle to the Corinthians.

In accordance to coronavirus measures, the guest list was kept to 20 guests and below, which is why Prince William, Kate and their children Prince George, Princess Charlotte and Prince Louis were likely not in attendance.

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While royal brides over the last century have had gold wedding bands made from a nugget of pure Welsh gold, Beatrice opted for a platinum and diamond design by British jeweller Shaune Leane. Fusing Victorian and Art Deco influences, the ring sits seamlessly with Beatrice’s engagement ring, also designed by Leane.

The princess also steered away from the all-white bouquets adopted by recent royal brides, choosing to make a statement with her coloured bouquet of jasmine, pale pink and cream sweet peas, royal porcelain ivory spray roses, pink O'Hara garden roses, pink waxflower, and baby pink astilbe by Patrice Van Helden Oakes. She did, however, include sprigs of myrtle in a royal tradition that dates back to the 1858 wedding bouquet of Victoria, Princess Royal. Beatrice’s bouquet was later sent to the tomb of the Unknown Warrior in Westminster Abbey, another generations-old practice that began in 1923.

If Eugenie and Jack’s festival-themed 2018 wedding celebration was any indication, the Yorks know how to throw a party—no matter its size. After the solemnisation, Beatrice and Edo invited 14 friends to the Royal Lodge for a party that lasted until the early hours of Saturday.

Held outside the property, the reception—planned in accordance to social distancing rules—featured speciality cocktails and bespoke catering; a marquee dubbed ‘The Duke of York’, which was filled with sofas, a jukebox, draft beer and a dartboard; a bouncy castle; and even glamping pods for the couple and their friends to rest in.