Thursday, September 29, 2016


Thinking about that Art Deco theme for your wedding day?  Then check out FLEUR, a body-hugging crepe satin paired up with delicate Chantilly lace adorning the halter bodice and cummerbund that truly captures the essence of the Art Deco era.  Zeroing in on details, there are antique buttons up the center front adding simplistic but knock 'em dead styling. 
A few tips for creating the look that goes with this dress: 

*Wear your hair either  bobbed or worn slicked back and in a low chignon. Marcelling (deep waving process) was still being used. Accents were often florals or jewels worn in the hair.

*The platform shoe wasn't introduced till the 1940s, so if you're going for authenticity think satin, low-heeled and strappy.

*Make the most of accessories.  Long gloves, cocktail hats, hair florals all say Art Deco good and loud

Tuesday, September 27, 2016


Photography . . . . . . Pixaimage Photography
Veils and gowns . . . . .Amy-Jo Tatum
Makeup . . . . . . . . . Necia Whitmore
Hair. . . . . . . . . Kao Vey Salon
Models . . . .. .. . . .Janelle Mills and Libby Gale
Venue . . . . . . . . .San Domenico, San Anselmo, California

It seems classic veils are suddenly taking the spotlight once again but they've always been a staple of  bridal fashion. We wanted to  capture the essence of the traditional bride in all her romantic and time-honored splendor.   From the ethereal beauty of the drop veil to the small tulle head pouf, here is the veil collection . . . . 


Monday, September 26, 2016


That chill in the air is definitely on its way telling us the seasons are a' changin.  Today we're focusing on all those Fall and Winter fabrics to keep brides toasty warm through the chilly months ahead.   Medium to heavier weights can be absolutely luxe and gorgeous especially ones with patterns and sheen so perfect for evening and the low light of shorter days . . . . 
Brocade-Heavyweight fabric used in structured silhouettes. The elaborate patterns of this fabric are created by mixing muted and glossy yarns in matching (sometimes contrasting) colors. Most bridal gowns made out of brocade have a surface design of florals though I once saw a gown with some interesting geometric patterns. Brocade molds perfectly in sheath and A-line silhouettes. A fall/winter fabric, brocade is an excellent option for bridal suits.
 Duchesse Satin-Medium weight satin with a glossy finish. A staple of traditional bridal wear, it has versatility whereas it works for strait as well as full silhouettes as in the dress above.
Taffeta- Stiff, crisp, lightweight cross-rib weave. Taffeta can have either a slight luster or muted finish like the dress above. It can be shaped, adding volume without bulk and weight, making it an ideal choice for A-lines and ball gowns. Nice in a sheath silhouette providing it has some kind train preferably of the same fabric with some degree of fullness.
Suede--Getting married in sub-zero weather? Covering your gown with a cape is ideal—they’re roomy and they won’t squish your dress. The cape here is white suede (type of leather) with marabou and faux fur trim added to a cathedral train. The hat and muff are made of faux Moulton lamb./Photo by Rob Martel
Velvet- Heavy-weight, napped fabric. Perfect for the winter bridal suit. Light weight velvets are ideal for spring and summer weddings.  This cut velvet chiffon dress drapes beautifully to the body
Wool-Ordinarily when we think wool, we conjure images of coats and suits. Wool crepe and jersey (above) drape beautifully though and are excellent choices for the gown or dress with a more modern feel. The wool dress is an excellent choice if you’re considering re-wearing after the wedding. Optimal for wedding suits and contemporary brides, wool offers a certain sophisticated chic. Wool is great for winter weddings especially if you don’t want that luxurious fabric finish that most silks proffer. 

Photos 1-3 by Bride Chic
Photo 3 and 4 by Rob Martel
Photo 4 by Penny Climer

Friday, September 23, 2016


These lovely portraits focusing on water play hail from The High Tea Shoot with shooter extraordinaire, Jim Vetter who captured the romance of the Gatsby era beautifully in that collab project I'll never forget . 
Photography: Jim Vetter Photography
Gowns and Headpieces: Amy-Jo Tatum
Makeup and Hair by Rachel Gardea
Models: Alex and May
Photographer Assist: Soheila Moghadam

Thursday, September 22, 2016


Did you know even before Marie Antoinette, the parasol was considered a necessity in every woman's wardrobe to ward off the sun. By the mid-1800s when they hit their zenith in the Western World, it was at least known then sun prematurely ages skin. A century later we have scientific proof exposure not only ages but can cause melanoma. So our grandmothers had the right idea flaunting beautiful accessories (before sunscreen). And so evolved the parasol; at  it's most chic it can be an art form full of intricate treatments and applications just like hats, veils, purses and shoes.

Top Photo via Tumblr
Photo 2 by Bryan John Hendon Photo 3 by Ryan Chua//Dress by Amy-Jo Tatum
Photo 4 via Etsy
Photo 5 by Adeline and Grace Photography via Style Me Pretty

Wednesday, September 21, 2016


This light, springy and transparent fabric was once considered suitable only for spring and summer bridal wear.  Thanks to designers organza is now year-round and widely used in gowns requiring full skirts, A-lines, trains, veils, drapes and overlays.  Feast your eyes on some ways I used one of my fave fabrics--organza . . . . .

Above: Photo 1--The FLORA Dress sporting an organza train dappled in silk rose petals//Photo by Lirette Photography//Below: An array of embroidered organzas. Photo 2: The APRIL Dress, a ballerina length allover organza with a full skirt//Stephanie Williams Photography//Photo 3: The GIGI Dress, an A-line in embroidered organza with bottom flounce//Photo 4: The BEATRIX Dress, an embroidered organza bodice with a full tulle skirt//Photo by Dominic Colacchio Photography

Monday, September 19, 2016


I like to think of the skirt component as the one in which the most critical movement takes place. The skirt goes into motion when you put one foot in front of the other and make your way down the aisle or dance with your groom. And because the skirt is an action piece, it has a certain ‘living quality’ once you start moving around in it. Added embellishments like beads and crystals reflect light a different way every step you take; back slits reveal sexy legs and bustling can transform a gown one moment from elegance, the next to poetry and romanticism. Consider once you start really moving around, your skirt, your dress as a whole is constantly changing with you in it.

Since most gown silhouettes are based on the skirt proportion of a sheath, ball gown or A-line, let’s look at a few details within those categories. Skirt details vary and are filled with special treatments like pleats, overlays and drapes. For instance, ruffles are a design detail that can add length; deep inverted pleats can add fullness without bulk to the waist or hips. Zeroing in on which of these treatments you want is going to be one of your most important decisions. 
 Draped or bustled-Can be applied to sheaths, A-lines or ball gowns. A drape is a wrap of fabric pleated or gathered to the side or back seams of the skirt adding fullness. They can be integrated into the original pattern or added on in a contrasting fabric. Imagine a 1930s evening gown in a lightweight crepe, asymmetrically draped front to back. In heavier fabrics like faille and peau, swathes of draping lend a more sculpted, architectural look to the gown giving it that Goddess on a Pedestal quality. 
 Flounce-A ruffle or pleating of any width around the bottom of the skirt. Seen nowadays mostly as a bit of flounce peaking out of a skirt overlay.

Tiers-Can be one or up to even ten layers of tiering in a range of lengths and fabrics. Think of a Spanish dancer.

Graduated Hemline(s)-Again think Spanish Dancer. Hem tapers from a high to low point. Can be applied as one or more skirts.

Trumpet-Form of princess line with two vertical seams up front and back with godets (triangular pieces sewn into the seams) adding fullness around the knees.

Overskirt-Most are detachable and worn over a sheath or A-line. Could be considered a detachable train if it’s elongated in back.

Overlay-Like the overskirt, the overlay is placed over an existing skirt. Some employ special effects like being cut asymmetrically or short in front, long in back. The difference between the overskirt and overlay is the latter is generally incorporated into the pattern when the gown is made.

Circular-Full skirt completely on the bias. Typically fitted onto a natural or dropped waist with a sweeping, flowing hem. Takes on totally diverse characteristics according to what fabric is used. In lightweight silk crepe its fluid; wool crepe heavily fluid. In heavier satins its very structured and needs well thought out understructure.

 Photo 3: The GEZELIQUE Dress from The Union Shoot//Photo by Nathan Larimer of Winter Tree Studios

Thursday, September 15, 2016


Pics of this week are shot by Yours Truly.  I captured these gems between waiting for photographer Samantha Brancado to set up out at Fort Cronkite for The Classic To Cutting Edge Shoot.  So proud of myself here--very little photoshopping and the light and backdrop of the barn are unretouched!  Amazing . . .

   Dress by Amy-Jo Tatum/Hair by Pins and Curls/Makeup by Prettyolgie