King's Curtain
The Royal Opera House in London—one of the world’s most renowned opera houses.
For decades, a very special stage curtain has defined the theater’s image: the famous decorative curtain made of red mohair velour, bearing the insignia of Queen Elizabeth II. These curtains were far more than just part of the stage. They became the silent backdrop to great theatrical moments—those special moments after the actual performance, when emotion, relief, and enthusiasm erupt in the audience’s applause.
Generations of renowned artists have taken their bows before them: Darcey Bussell, Carlos Acosta, Antonio Pappano—and decades earlier, Rudolf Nureyev, Margot Fonteyn, and Maria Callas. They all stood before this deep red velvet. Twenty-six years ago, we were first commissioned to craft these historic curtains. Over nearly three decades, they opened and closed for more than 10,000 performances. They witnessed premieres, encores, thunderous final applause, and countless standing ovations.
Now, due to daily wear and tear, the curtains have reached the end of their useful life. Replacing them is therefore not only a technical necessity but also a symbolic new beginning.
Once again, we have been entrusted with this extraordinary task. The new curtains will feature the personal monogram of His Majesty King Charles III, patron of the Royal Opera House, the Royal Opera, and the Royal Ballet. This serves as a visible tribute to the close and time-honored connection between the monarchy and the performing arts.
Sir Alex Beard, Chief Executive of the Royal Ballet and Opera, explains: “This commission is part of a comprehensive renovation program throughout the Royal Opera House, which is modernizing areas that were last renovated in the 1990s. The new curtains are not only a tribute to tradition and artistic craftsmanship, but also an investment in the future of our stage. We are proud to honor His Majesty’s patronage in such a visible and enduring way.”
And today, May 14, 2026, at 7:30 p.m., the moment has finally arrived: As part of the annual Spring Gala, the new curtains will be ceremonially unveiled in the presence of the King.
Preparations for this extraordinary project began as early as the start of 2025 at our headquarters in Umkirch near Freiburg im Breisgau—under the direction of our Senior Project Manager, Dipl.-Ing. Andreas Främke. Having worked at Gerriets for over 30 years, he is one of the most experienced specialists in decorative curtains and theater technology. In London, historical documents were reviewed, measurements were taken, and technical requirements were analyzed. Modern stage technology also had to be taken into account during the planning phase. Sourcing the fabrics proved to be a particular challenge—only a few manufacturers worldwide still produce the required materials. The first full-scale samples are being produced.
The curtains consist of a total of four layers: a visible decorative layer of red velour weighing 800 g/m², a protective backing layer, and two additional sound-insulating intermediate layers. In total, approximately 750 kilograms of fabric are used. Each of the two curtain panels measures 9.75 meters wide and 10.8 meters high.
At the same time, under the supervision of the Royal Family, the Royal School of Needlework began producing the elaborate embroidery—including the crown, royal crests, and numerous decorative elements. An impressive feat of craftsmanship and design.
From a stage-technology perspective, the design is also extraordinary: The curtain combines elements of the Wagnerian and German opening mechanisms. It is pulled diagonally upward from the side while being raised as a whole at the same time. The curtains were ultimately sewn in our workshops in Volgelsheim, France, near Breisach am Rhein, close to the German-French border on the Rhine.
Under the guidance of our experienced seamstress Hildegard Heitfeld, her colleagues Océane Mebold, Barbara Schwob, and Laurence Gerber worked with the utmost precision over the course of four weeks: The fabrics were inspected, measured, cut, and checked again. Several sewing machines were in use at the same time. Working with the heavy materials and intricate appliqués required the utmost concentration, craftsmanship—and physical strength as well.
Two weeks ago, on-site installation finally began in the United Kingdom. Our technicians Falk Zeides, Manuel Back, and Filip Garbacz accompanied the delivery.
Under the strictest confidentiality—even from many of the venue’s own employees—work was carried out exclusively at night, when no performances were taking place. The curtains were hung, adjusted, and tested repeatedly. Only after all the movements were functioning perfectly were the two sections sewn together precisely at the bottom.
This project is an impressive example of European collaboration—driven by passion, precision, and decades of experience.
We are proud to be part of this special moment.
Long live art.
Curtain up! We’ll take care of the rest.
