Betty applied her smocking skills to gather the fullness of the material underneath the bust and at the top of the sleeve, the latter giving the dress the fashionably wide-shouldered look. The long row of fabric-covered buttons at the back were another nod to contemporary style.
The collar and above the hem of the sleeves are both embroidered, using small white pearls, textured spangles, pearlised and grey (possibly tarnished silver) bugle beads. This was not Betty’s own work but that of her cousin Dorothy May Tombs (1914-1984).
Dorothy was employed as a bead worker at the London couture house of Norman Hartnell, who famously designed both the Queen’s wedding and coronation gowns. Presumably, Dorothy was also responsible for the beaded tassels attached to the ends of the sash. If you look closely at the wedding photograph, you can see that Betty’s veil is embroidered around the edges and has appliqued satin leaves in the corners, maybe also Dorothy’s work?