GREAT CINEMATIC GOWNS THAT INSPIRE BRIDAL

I've always been fascinated by Hollywood.  Golden Oldie designers of course have my utmost attention and have inspired my collections extensively.  They include such luminaries as Adrian, the King of Hollywood Design, Travis Banton who worked for Paramount and Edith Head who started out in the twenties and continued designing for cinema till she died in the early eighties.  Some of these gowns and dresses made such a hit, they were copied by manufacturers  and stores for years.  The above dress by Adrian worn by Joan Crawford is just one example of the trend that came out of the 1932 release, Letty Lynton.

Above: The Laura Gown.  Worn by Gene Tierney in the 1944 Film Noir classic, this white jersey is a  tour de Force in simplicity and draping by 20th Century Fox designer Bonnie Cashin.  Cashin was a designer who moved around a lot not only through the movie industry, she switched back and forth from Hollywood, to Broadway to Seventh Avenue.  I can see her sportswear influence here (where she excelled best) in the chosen fabric and draping.  And by the way, this gown may look simple but its not an easy design to create.  The drape is very tricky and would be an ideal 'problem to solve' for some eager design student or seasoned Parisian couturier . . .

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A Place in the Sun.  If you haven't caught this 1951 Montgomery Clift and Liz Taylor flick, do so.  Close friends in real life, the actors' screen chemistry was full of heat (even though Clift was gay).  The story was adapted from Theodore Dreiser's, An American Tragedy and boy is it a lollapalooza.  So is the 'Deb' dress.  Cut on the bias, the circular skirt has plenty of volume sans any bulky gathering at the waistline.  Notice how a true bias cut falls onto triangles?  Whenever she walks the dress moves with her . . . Well here's another tidbit: the petticoat underneath this gown is enormous . . .

This silk crepe cut on the bias was worn by Jean Harlow in Dinner at Eight.  Created by MGM's Adrian, he accentuated her hair and breasts by dressing her in clingy, slinky, bias-cut satins that, in those days, resembled sexy nightgowns (a radically new concept in the 30s). Adrian also played up these body-hugging, boudoir chic silhouettes by sometimes adding feathers and fur melding in nicely to what was then known as the Big White Set.

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 Fred and Ginger were the icons of romance during the Golden Age of Hollywood. If you've checked out most of the top designer bridal collections the past couple years, the Astaire-Rogersesque glamour is still allover the radar screen.  Ginger's gowns were legendary yet no one designer was synonymous with creating her costumes at RKO.  The famous Feather Dress above by designer Bernard Newman.
hails from Top Hat 1935.  She was also dressed by Irene Sharaff,and Walter Plunkett.

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Above is Liz Taylor in the 1958 version of Cat on a Hot Tin Roof.  Cast alongside the caustic and oh so pregnant Madeline Sherwood as Sister Woman, Liz (Maggie the Cat) comes off as the very essence of Goddess.  Designer Helen Rose helps this along with the pure white dress with a bias-cut skirt ( I'm guessing silk crepe or chiffon) that moves beautifully whenever Liz does . . .

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Who'da thought this sexy little number would ever be a suitable candidate for bridal wear?  Believe it or not this crepe halter dress with a pleated skirt that blew up and over Marilyn's head in The Seven Year Itch was bought off the rack.  The image above right is a replica of the famous white dress redesigned in 1976 by designer, John Kloss.

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Audrey Hepburn's ball gown from My Fair Lady is a touchstone in classic chic regardless of the fact it is a period gown designed by Cecil Beaton circa 1964 to depict the pre-WWI era of Paris fashion.

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Another pre WWI costume flick, The Swan inspired this white eyelet gem worn by Grace Kelly and designed by MGM costumer, Helen Rose.  Rose also designed Grace Kelly's real life wedding gown

FRENCH BLUE

Is there nothing more soothing and beautiful than soft pastels complimenting one another?  These blues mix in with soft pinks and creams to create a certain Spring lovliness.  Thank you Frog Princess for this wonderful inspiration created on SMP . . .

BLACK AND WHITE AND PINK

Personally I have a thing right now for black and white stripes and polka dots, zebra prints, damasks, gingham, you name it.  Black and white offers sharp and clean lines and visual texture to a color theme.  Black and white all by itself is pretty bold yet mixed with shades of pink it melds in beautifully.  We have Kelley to thank over at Style Circle for creating this gem of a board that's got me going.

BACK STORIES

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Your grand entrance will certainly make a first impression but consider what’s going to go on come reception time.  This is when and where your guests will have glimpses of you from all perspectives, including the back of your dress, train and veil; all pretty significant to the overall picture you create.

Think of the back of you in components that make up a total picture: There’s the veil, back bodice, skirt and train. Choosing the right veil depends on the length of the gown, the interest of the back bodice, etc. You may opt for a shorter veil or no veil at all if there are some details you really want to show off. These details can be as simple as a row of buttons all the way down the back, or as elaborate as silk flowers cascading the length of a cathedral train. How much or little detail you choose is a matter of preference. Here are a few treatments you might want to consider for the back of your gown.

S1 Studio

Above: CLUSTER- Grouping of florals or florals mixed with bows, tassels and ribbons. Gown by Amy-Jo Tatum Bridal

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Above: BOW-This can be a series of small bows spaced down the back like button closures or a sizable one placed on the waistline or lower back.

Top Left: BUSTLE- Result of train being pulled up or under and fastened to the gown or underskirt.
Top Right: Panel Train-An abrieviated version of a watteau train.  This one is covered in Alencon lace
Bottom Left: Criss Cross-Bands of fabric add back interest to this gown.

Bottom Right and Below: BUTTONS-A row down the back is classic; either fabric covered or pearl.

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RUFFLES-Some gowns have a treatment of ruffles part or all the way down the skirt. BOW-This can be a series of small bows spaced down the back like button closures or a sizable one placed on the waistline or lower back.

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DRAPE-Popular back treatment for low-necklines in evening gown silhouettes. Usually a cowl in crepe or chiffon.

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Custom design is the best option if you have a specific back feature that ordinarily would have to be engineered into the gown rather than simply added on. Bows, florals, sashes and detachable trains can all be matched up in color and fabric and added on to a ready made gown with little or no problem. But features like back overlay skirts and lace-up bodices are usually built in and need to be planned out with a skilled dressmaker or designer. Going custom might cost more in time and the number of fittings, but you’ll get that wonderful back feature that makes the gown uniquely yours, uniquely one-of-its-kind . . . . .

LONG AND SHORT

For the bride who wants to have it both ways there's good news: go right ahead.  French designer Max Chaoul makes the most of this look, adding mini dresses with trains and over skirts to the I Love You Collection 2010, perfect for going from the formality of ceremony to revels of reception time . . .

NEW ISSUE OF THE ZINE!

Well folks, for those of you who follow Bride Chic, The Blog, the second issue of the Zine is up and running and I couldn't be happier. What makes the Zine so unique is it is a capsulation of all the best editorials and posts the Blog has run through the Spring of 2010. I have to say I'm so pleased with the quality of work I have put out this year in the way of gowns and headwear. I've also had so many wonderful people helping me showcase my work through their photographic, makeup and hair artistry talents, not to mention all the flower people, models photo retouchers, stylists, and of course, my clients. From the bottom of my heart  thanks to all those who helped out this year . . ..

Photos courtesy of S1 Studio

THE BLACK WEDDING DRESS

Would you get married in black? Believe it or not, once upon a time most women did. In the 1800's brides wore everyday colors, mostly darker, somber ones. Today when we think black though, brides rarely come to mind. It's  a shade reserved by society for widows and vamps. But times are changing and we're looking beyond the white philosophy that's defined wedding fashion for two centuries. No longer restricted to white on white, red, blue and even black dresses are gracing the bridal scene. Not only designers are loving this lift on restriction but photographers are looking at it with an inspired eye as well.


The above board focuses on the black dress and tones complimentry to a wedding theme.  Thanks again to Naomi Goodman of Enchanted Dream Weddings and Affairs for creating another stunner of a board . . .