THEIA Bridal Spring 2020

THEIA has set a standard of classic elegance with its aesthetic of clean lines, signatures crepes, and sometimes, minimalist aesthetic. That said; for spring 2020 Creative Director Don O’Neill decided to push the bridal and ready-to-wear brand in a direction that goes beyond very consumer-friendly bridal gowns that will have a wide appeal.

O’Neill has tried this before, pulling inspiration from such disparate influences as David Bowie and opium dens. Creatively, these sources of inspiration were brilliant, really pushing the proverbial bridal design aesthetic in a fashion-forward direction. Unfortunately, some of these unconventional reference points may not have translated into strong sales for the brand.

This time around O’Neill may have accomplished both goals of expanding THEIA’s bridal design aesthetic without abandoning the brand’s signature aesthetic, as well as increasing retail value. And for good measure, O’Neill included some THEIA favorites, soft ball gowns and hand-beaded gowns for those young brides that embrace romanticism and whimsy.

For spring 2020, O’Neill looked to the 1970s, and in particular those glamorous party girls and beauty icons that swirled and sashayed under disco balls or graced pinup posters. Think Bianca Jagger, Farrah Fawcett-Majors, Jerry Hall, Margaux Hemingway, and Jacqueline Bisset. 

Piggybacking on the glam rock trend that was seen in so many fall 2019 ready-to-wear collections, Don O’Neill’s choice of inspiration was key to the success of this spring 2020 bridal collection. O’Neill ingeniously incorporated glitzy glamour into the collection without this injection overwhelming the brand. This was a bridal collection that speaks that bride that wants to be sexy and glamorous on her very special day, even if that means conjuring up images of disco balls and New York City nightlife.

Photos courtesy of THEIA

Though this collection was characterized by plunging necklines, thigh-high slits, gleaming lames, and sexy sequined, halter jumpsuits, O’Neill found a way to elevate this collection out of the disco era, making the bridal garments palatable to the modern bridal consumer.  Standout looks in the collection was the hand-embroidered polychrome sequin duster coat over the Louisa crepe slip gown, platinum lame halter shirt gown, plunge front crepe jump suit with ruched waistband, boat neck crepe mermaid gown with open back with Rhea pearl-embroidered veil, and V-neck gown hand-embroidered with Grecian-inspired bugle beads and polychrome sequined gown. 

—William S. Gooch

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