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*Princess Michael of Kent has sparked outrage across the pond after wearing a “racist” pin to the Queen’s Christmas lunch on Wednesday, an annual event that would have marked the first time Princess Michael met Prince Harry‘s biracial fiancée, Meghan Markle.
The royal, who is married to the Queen’s cousin Prince Michael, wore what the Brits call a “blackamoor brooch” on her coat as she was driven into Buckingham Palace on Wednesday.
“Blackamoor” is defined as the style of 18th century artwork in which black men and women are depicted as dark-skinned African slaves.
After the uproar over her brooch, Princess Michael’s spokesman released a statement expressing remorse and vowed never to wear the blackamoor brooch again.
“The brooch was a gift & has been worn many times before. Princess Michael is distressed & very sorry that it has caused offence,” a spokesperson told the Daily Mail. “It is understood that she will not wear it again.”
Princess Michael’s spokesman tells @MailOnline on blackamoor brooch row: ‘The brooch was a gift & has been worn many times before. Princess Michael is distressed & very sorry that it has caused offence.’
It is understood that she will not wear it again. https://t.co/RE3REiPzcn— Rebecca English (@RE_DailyMail) December 22, 2017
Via Daily Mail:
Blackamoor jewelry and art was extremely popular in the 18th Century. But they are now considered to be highly racially insensitive and the word blackamoor has been condemned as a term of abuse for anyone with a dark skin. In recent years there have been petitions for galleries and hotels to remove them. Blackamoors first emerged during the Middle Ages when Europeans first encountered the Moors, dark-skinned Muslims from North Africa and the Middle East who came to occupy various parts of the continent. The African figure is typically depicted with a turban, dressed in lavish jewels and are commonly fixed in positions of servitude—such as footmen or waiters. They are usually carved from ebony or painted black in the case of porcelain. While they became an art form in the 17th and 18th centuries, particularly in Italy, many believe the figures suggest “racial conquest.”
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