Whether you're wearing crocheted shorties or long, opera length beauties —gloves are glam and can really add some spark to your bridal look. If you're getting married this time of year when the chill is on, long gloves help warm up hands and arms. You can go with the classic white and ivory or jazz up your look with any length, color, texture, even pattern. Just like some brides are showing some pizazz wearing different color shoes with their gown, glove color is an option you have as well. Experiment, then go right ahead and be as adventuresome as you want!
I love the concept of the urban/city chic style wedding happening around this time of year--October/November. There's something about metro landscapes that compliment sophisticated dressing. The TATYANA Dressactually is one of my most versatile pieces in the sense it can go country/vineyard as well as beach and bohemian. Here we have it glammed up for a chic city wedding at the Crocker Galleria in San Francisco. When we did The City Chic Weddingeditorial, In the planning I knew accessories like the long opera gloves and tulle head pouf would set the theme. The addition of the white satin belt added just the right touch to complete the look . . . . .
The dress is allover tulle and bodice has a surpliced front of lace cut outs under slightly shirred tulle. There are 6 layers of lightweight tulle skirts over a silk habotai lining and separate petticoat of many layers of crinoline. The Tulle Head pouf also available through Etsy
Today's inspiration comes from The I Love Boho editorial we did a couple years back featuring the other worldly and hauntingly beautiful work of photographer, Lexi Moody. She captures the waif/fairytale/flowerchild spirit like no other shooter can in my book. Love, love love the mood . . .
Above is my blue book, page after page of renderings I keep each year for custom clients who have the courage and faith to develop the most important dress of their life from ground zero. This handful of brides don't order from my existing collection but create a design from what's in their head. Boy, it takes a lot of trust to build a dress from scratch especially if you know zilch about fabric, silhouette, yada, yada, yada . . . which most of my brides can cop to. Today I open up the books and salute all my one-of-a-kind brides through the year who trusted my expertise to bring their vision to life . . .
Above: We tracked down this embroidered silk dupioni in London for the bodice of Zoe's dress. So gorgeous is the slightly dropped waist! The full skirt is layers and yards of tulle. I sometimes fall so much in love with the dresses that I put them into the collection with my own interpretations. This designer's version will either sport a train or fall just above the ankles a la 1950s
Above: Elvie wanted a close-fitting all over lace dress that was simple in design sans a train (she wanted to move freely about on her wedding day). She added drama and made up for the train with a single layer cathedral veil for the ceremony with a 5-foot extension . . . . .
Above: Another all over lace dress only once the muslin test pattern was done Katie found this great eyelet and we swapped out the lace. Most of the work that went into making this dress truly couture was the handmade belt out of Schiffli lace cut outs, pearls and intricate bead work. And look at me gilding up the lily with accessories!!! Suffice it to say, she didn't wear the hat and gloves. A shorter fly away veil topped off her look beautifully.
Above: Alicia had an Autumn in NYC wedding, nups at sunset in a loft/art gallery/restaurant so we wanted to play up the cocktail wedding theme. She ended up going pretty much 1940s chic with her evening gown silhouette. The bodice was pieced Alencon laces, part of my lace stash she couldn't pass up
(shown below). The head piece changed a little from the pleats shown above to more of a netted cage pouf.
Above: When Dana came to me with this 20s-30s tango/flamenco idea I had only to show her I'd created something pretty close a few years back in red about 20-inches shorter. Yes, she wanted to dance at her wedding so she came to the right designer--who not only danced at her own wedding but comes from a ballroom dance background so I know how fabrics and certain styles are going to move. We used ivory chiffon backed with a crepe and lined it in silk charmeuse. I told her, "When you line a dress in silk charm, you'll never take it off. . . .". The ruffles are on the bias so with the weight of the crepe they have an elegant float about them.
Above: Another Autumn wedding (last week), this dress in silk crepe and chiffon is a gem of many, many, many yards of fabrics so light, there's no bulk in spite of the multitude of pleats in the bodice. Katie--I had two Katies this year--said she initially came to me because she couldn't find anything in the shops or online she thought was sophisticated enough to say 'bride' without shouting MOB!!!!
Like the Macy's parade come every 4th Thursday in November, it's become a tradition here--my posting about the Thanksgiving wedding and the many details that go with. I actually love the idea of getting married on Thanksgiving Day. The days before as well as the Friday, Saturday and Sunday after are times family are all gathered. And that's the bonus of a Turkey Day Wedding--the guests and menu are all pretty much assembled. If you want cozy nups with just family go ahead and opt for Thanksgiving Day. Extend that invite beyond family and your wedding might conflict with most of your invited guest's family dinners. Overall, a turkey dinner with all the fixings for the bride and groom and family gathered is a great way to combine your vows with that great family institution.
Above: What could be more symbolic of Thanksgiving than the harvest? This bouquet of wheat by JL Designs says it all//Photos by Stephanie Williams Photography from the Vintage and Rustic Shoot//Dress byAmy-Jo Tatum//Below: A medley of Thanksgiving table chic, decor and autumn fashion. Dress by Amy Jo Tatum
To get that 1940s screen icon look like Rita Hayworth with a bit of Gene Tierney thrown in, it helps to tune into films from the era. . I'll start by saying wedding gowns of the 1940's were influenced by two things: war and cinema. Both became inseparable once the war machine started and people all over the world looked to newsreels for updates.
Fabric was scarce, rationed and silk went for making parachutes. War brides (usually quick to marry fiances going off to war) had to make do with a best dress or a suit to tie the knot. Formal to-the-floor gowns were offered in the synthetic fabrics that were the newest thing. The classic silhouette of this era was an A-line with a V-neck and long sleeves usually in a high sheen satin.
What have we taken from this era and brought to today's wedding fashion? I'd say the screen goddess look of Lana Turner or Rita Hayworth in a white gown that had more to do with evening glam than bridal. But it all works—the red lips, long wavy hair, clean makeup. It's definitely a look that brides of today love and stalk every corner of the net to recreate...
TIPS FOR CREATING A REAL 1940's LOOK
Watch old movies like Cover Girl with Rita Hayworth and study the hair. Styles back then were big on glam with every hair in place. The pin-up girl from this era inspired voluminous long locks with waves.
Baby Doll, peep toe and platform shoes were the fashion, either as pumps or sandals.
Sweetheart necklines were born (a fave of Judy Garland & Deanna Durban, those young stars of backstage musicals). So were A-line gowns of transparent organza or chiffons worn over a slip dress.
Topping it all off, the classic 40's bride wore a diadem head piece out of pearls that held a flowing veil. Other headdresses of the day? Snoods, turbans and hair jewelry. Because some weddings had to be planned literally overnight, tulle and netted turban head wraps topped off with bows or florals became the quickly assembled head chic of wartime brides. Snoods especially popular for evening wear of this era held carefully paged hair in place like the one below.
Make up in the header photo by Julie Morgan Hair and Make Up
Just off the work table, a couple romantic and beautiful additions to The Forever Boho Collection. Directly below, The CELESTE Dress is a light and airy confection of silk chiffon, tea-dyed tulle and lace with a hint of blush. The flutter sleeves of tulle are like wings falling into a light back ruffle. The front panel in Chantilly lace is ideal for shorter brides looking to create an uninterrupted, cylindrical line and heavier bodies looking for slimming options.
Above: Close up detail of the CELESTE Dress. Below: The OPHELIA Dress. Silk, tulle and handmade floral dappled over the neckline and body of the dress.
Both these gowns were inspired by movies from the 1930s. While each can sport the waif/storybook/ earth angel look and be worn with a head wreath of florals, add a longer veil or hair jewels and you have a more elegant golden age of Hollywood bride. Absolutely love the versatility . . . . .
Most brides wait till the gown is ordered
before making a decision on a veil. In addition to complimenting your dress, you’ll
need to zero in on your body type. For instance, petite brides want to create the impression
of height. Yes, petites can wear pouf veils as long as the volume up top doesn’t
imitate an Indian-headdress, dwarfing rather than extending height. Also
if you’re short, a cathedral length veil isn’t the best choice—even a dropped
version with zero density. You can get the drama and extension you need
by scaling down to a waltz or chapel length to fit your proportion.
Heavier and/or thick-waisted brides look best in a one layer dropped veil
tacked onto a bun, falling in a swirl down the back. Try keeping your
lines back and delicate, avoiding elbow length veils with lots of volume.
Ditto veils edged in ribbon; they can form lines across the waist,
creating width. If you’re tall you’ll want to keep the poise of your
height intact without going over the edge. Go ahead and wear that
cathedral veil with your long-trained ballgown. But realize even tall,
sylph-like women have limitations. Princess Diana who was a stunning
5’10”, over-volumized her height her wedding day when she piled layers of tulle
atop a dress already screaming of über-pouf. Face it, we all have to work
on getting the symmetry right.
Generally, more ornamental gowns look best with
simple veils, like one layer of tulle with narrow edging or no edging at all;
whereas all over lace veils or ones edged with wide borders require a simple
gown with little adornment. Your dress might have some exquisite back
details you want to show off. If this is the case select a shorter veil
like a fly away or net pouf. Want a more romantic look? Try a layer
of tulle— preferably in a dropped style that doesn’t fall in creases and folds
across your back. Tulle is the best fabric for this; it’s transparent
enough without being so opaque to fog detail. If your gown has no train,
wearing a chapel or cathedral length veil can create one—especially elegant
when bordered in wide-edged lace or there’s a concentration of lacework on the
AFTER THE CEREMONY
If you’re in a long veil and want to
remove part of it for the reception, have your salon work out the fastening
system with you and whoever is helping you. Taking off the entire veil?
Exactly when during the reception is up to you; it depends on whether you
want to be veiled in photos cutting cake, toasting, dancing, etc. Some
brides wear their veil the entire day. And I suppose this is because
there is nothing quite like a white veil that says . . . Today is the
only day I will ever be a Bride. Veils and gowns by Amy Jo Tatum Photography by Pixamage Hair: Salon Kao Vey Mua: Necia Whitmore
First off, in your search, think gown over dress. Why? Gowns are long and lean styles. Always keep in mind those gowns that make you linger and look a little longer than the rest—the ones that really grip your attention. Do you love that empire waist because the model in the editorial looks great in it? Or do you go for the higher waist because you instinctively know it would look great on you? My best advise here is this: learn to really accept and cherish the body you have then train your eye and thinking to embrace styles that compliment your particular assets. Pass up any looks you could wear if only you were taller, bustier, lost twenty pounds, etc.? Target your flaws then minimize or camouflage them; always, always heighten your assets.
* a gown with a panel or seam(s) running up the
front. The unbroken lines give you height.
*Empire waists are one of your best options
considering you go floor length. You want to keep that vertical line
* A V or U-neck, it gives the impression of a
*A mermaid. If you’re slim and petite
consider this style. It’s fitted like an evening gown up top and has all
the bounce and swirl of a ball gown below.
*An A-line. Think of it as your very own
scaled down version of a ball gown.
*Sheath and evening gown silhouettes, long and
columnar; they will flatter you.
* length over volume in your skirt
*Sleeves that are long and straight.
* Best proportion is a floor length gown with
veil or train of the same length.
*prints and laces as well as any motifs should be
scaled down and worn on the upper portions of the body. Busy designs below
the waist (even small ones) draw all eyes downward.
*Soft and sheer fabrics like crepe and chiffon
that drape to the body.
*any ball gown. The volume in the skirts
will consume you.
*heavy, elaborate fabrics like brocade or any
print or design that is large.
*Wide belts, sashes and cummerbunds interrupt the
vertical lines you want to create. If you do wear a sash or belt go thin
(1-1 ½ inches) and as close to the shade of your gown as you can get.
*any design with big puffy sleeves or shoulder
*Any train longer than a sweep.
Header Photo: A modified mermaid style with a silk gauze front sash that ties under the bust line draws the eye upward. (photo by Sweet Light Studios) Photo 2: Another empire style in lightweight fabrics, elongates. The lightweight fabrics help reduce bulk. (photo: Carlene Imagery) Photo 3: A chemise in lightweight silks and scaled down laces also has a wide open neckline to draw the eye up. Photo 4: An A-line in small patterned lace organza. Think of this A-line dress as a scaled down ball gown, giving modified volume. Photos 5 and 6: Sheath and evening gown silhouettes--long and columar. (photos: Scott Williams Photography//Vetter Photography
The neckline frames your face and is probably the feature you’ll most concentrate on when selecting your dress. It’s the part of your dress that gives your face some wow! Because there are almost as many neckline options as sleeve variations, think of mixing both components as an opportunity to really create that one-of-a-kind dress. Front and back bodices though aren’t always identical. For instance, the front could have a Sabrina neckline, the back a deep V; whereas another gown could have a scoop in front as well as back.
Believe it or not, the halter we see in so many bridal collections evolved from early 20th Century swimwear. Golden Age Hollywood designers popularized the look for evening, dressing stars like Garbo and Harlow. Actually the look was so radical and daring back then, tongues clucked as the etiquette police of the time declared, 'no nice lady wore such things out at night'. Ladies had different ideas though and wore the back-baring halter anyway. Halters once again made their comeback big time in the 1970s with the return of glamour and disco. During this time Cher's designer Bob Mackie took advantage of this look to bring out her best lines. Thanks to the ages, we have so many variations on this abbreviated neckline. Here are just a few stunning examples.
I initially created this space for my clients. Eventually brides looking for that touch of wow found their way here. Draping and playing with fabric started some twenty years back when I did a three-year stint as a bridal fabrics buyer. After that I opened Bridal Alternatives, a custom design studio and ever since have had the opportunity of working with brides who want that extraordinary one-of-a-kind dress. I'm in love with fashion history and re-invention of the past.
Other connections to fashion? I’ve been a columnist for San Francisco Art and Fashion News and have a weekly fashion buzz on One Wed Blog. I founded The Design Project of San Francisco, a networking organization of fashion professionals collaborating their skills and talents on projects. I’m currently working on a book called—you guessed it—'Bride Chic', all about that white gown and very special designer/client relationship. I live with my husband Edgar and Chihuahua Piccalina in Marin County California.
Want to see more of what I do? Check out my site at www.amyjotatum.com or call me 415.336.3480
CONTACT ME. Feel free to send on any ideas, photos or stories about your fashion or shopping finds email@example.com
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Please note some images on Bride Chic are photos from previous shoots and editorials of my collection pieces. Since I do admire other designers work, I’ve also added from online sources to share a different perspective. There’s no profit from the display of these photos -- they are being shown for the informational and educational benefit of brides and aficionados of bridal fashion. I always list my source, providing a link back. If you feel an image here violates your intellectual property and/or copyrights, please email your concerns to me (firstname.lastname@example.org) and I will gladly remove the photos in question. Thank you!
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