Elizabeth Taylor’s eight wedding looks ranged from a traditional pearl-covered gown to a tailored suit, hooded dresses, a yellow chiffon dress, an ombré gown, a cashmere coat and turban, and a lemon-colored lace dress. The familiar count of eight follows her eight marriages, as in Vogue’s retrospective; it should not be read as a count of every ceremony, since another account describes two ceremonies with Mike Todd in 1957.
Eight marriages, eight looks—and a 1957 complication
Vogue presents one outfit for each of Taylor’s eight marriages. Its account dates the Mike Todd wedding to February 2, 1957, and describes a white silk-chiffon gown with a sweeping hood. Glamour, by contrast, reports a civil ceremony in Spain on February 3 and another ceremony in Acapulco on March 8, also describing a hooded gown for the latter. These accounts do not establish a single, uncontested chronology, so the eight looks below follow the marriage-by-marriage framing rather than claiming to count every ceremony.
The eight wedding looks
1. Conrad “Nicky” Hilton, May 6, 1950
Taylor’s first look was the only one Vogue characterizes as a traditional bridal gown: a full-skirted, shell-white satin dress designed by MGM costume designer Helen Rose. It was embellished with bugle beads and seed pearls and finished with a long satin train. A pearl-covered Juliet cap held the veil. Vogue says the MGM-funded gown drew inspiration from Taylor’s onscreen dress in Father of the Bride (1950), making the film a useful point of comparison between her screen image and wedding style. Vogue; Christie’s, 2013.
Christie’s 2013 release says more than 15 people worked full-time on the gown for between two and three months. Its description specifies 25 yards of shell-white satin, a 15-yard satin train, and 10 yards of silk net in the veil. These are construction details reported by Christie’s, not independent measurements.
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2. Michael Wilding, February 21, 1952
For her second marriage, Taylor again wore a design by Helen Rose, but chose an A-line suit rather than a flared bridal gown. A posy echoed the flowers in her hair, and a modest pearl necklace completed the look. The suit’s shape and restrained accessories made it notably less formal than the pearl-encrusted 1950 dress. Vogue.
3. Mike Todd, 1957
The Todd look associated with Vogue’s eight-marriage sequence was a white silk-chiffon gown with a dramatic, sweeping hood. Glamour’s separate account describes a hooded gown for the Acapulco ceremony it dates to March 8, following a civil ceremony in Spain on February 3. The sources differ on dates and how they count the ceremonies; the hooded silhouette is the shared visual feature, not a basis for collapsing the reports into one definitive timeline. Vogue; Glamour.
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4. Eddie Fisher, May 12, 1959
Taylor wore a deep-green dress fitted at the waist and opening into a full skirt, with a hooded design that recalled the Todd look. Vogue reports that she wore a bracelet Fisher had given her in place of an engagement ring. The color, rather than bridal white, made this one of her most distinctive departures from convention. Vogue.
5. Richard Burton, first marriage, March 15, 1964
For her first marriage to Burton, Taylor wore a knee-length, sunflower-yellow silk-chiffon dress by Irene Sharaff, the costume designer associated with Cleopatra. Christie’s describes long sheer sleeves, a draped cowl neckline, and an empire waist accented with a bow. Vogue notes orange blossoms in Taylor’s ponytail; Christie’s describes a hyacinth headdress intertwined with a long braid. She also wore a Bulgari brooch from Burton. The differing descriptions of the hairstyle are best kept distinct rather than combined into a single precise account. Vogue; Christie’s, 2011.
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6. Richard Burton, second marriage, October 10, 1975
In Botswana, Taylor wore a dip-dyed ombré dress designed by British designer Gina Fratini, with a feather-adorned updo. Vogue reported that the dress sold at auction in 2011 for $62,500. That is a reported historical sale price, not a current valuation. Christie’s also identified the Botswana dress in its 2011 release. Vogue; Christie’s, 2011.
7. John Warner, December 4, 1976
At Warner’s Virginia estate, Taylor wore a matching cashmere coat and turban-style hat. Rather than a conventional gown, the coordinated outerwear made this look a distinctive, polished alternative for a wedding. Vogue.
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8. Larry Fortensky, October 6, 1991
At Michael Jackson’s Neverland ranch, Taylor wore a bespoke lemon-colored Valentino lace gown with a tiered lace skirt. Vogue reported that wedding-photo rights were sold to People for $1 million and that funds were used to launch the Elizabeth Taylor AIDS Foundation. Vogue.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How the looks changed bridal convention
The sequence is less a series of variations on one white gown than a record of changing silhouettes and choices. Helen Rose supplied the traditional pearl-worked gown in 1950 and the tailored A-line suit in 1952. Hooded designs appeared in the accounts of the Todd and Fisher weddings; the Fisher dress made the departure from white especially clear. Sharaff’s yellow empire-line chiffon dress and Fratini’s dip-dyed ombré gown brought color and fashion-world authorship to the Burton marriages. By 1976, Taylor chose cashmere and a turban-style hat; in 1991, she returned to a gown, but in lemon-colored lace. Across the eight-marriage framing, bridal convention is a point of contrast, not a rule every look follows.
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