Front Row — Page 21

Frederick Anderson Spring 2022

September 10, 2021 by admin Leave a Comment

The vibe at Frederick Anderson’s spring 2022 runway was slinky and sexy but refined, with no unseemly displays of flesh. After all, Anderson creates clothing for many of the same ladies who were customers of his former partner, Douglas Hannant, five years ago, before they shuttered the uptown ladies’ brand and Frederick went off on his own.

The color palette was chocolate, beige, cream, and camel with a pop of saffron red, and an oversized fern print. This palette of neutrals has been a staple of fashionable New Yorkers since the 1970s, when Halston introduced women to these flattering tones. Similar to last season, Anderson’s fabrics included slinky satins, luxurious tweeds, lamé, and a few delicate hand-crocheted sweaters and dresses, this time in contrasting cream and red.

For daytime, there is an adorable long sleeve romper in a great coco brown palm print and a cream V-neck crochet dress with an asymmetrical hemline. The print surfaced again as a pair of palazzo pants worn with a navel baring cream crochet top with a built-in bustier.

As in his previous showings, fluidity was a key focus and the tightly curated collection designed for evening wear that flows on and off the body. The body-hugging gowns appears to be poured on the models. Conversely, there were also gowns that flowed off the body such as a billowy empire neckline in the coco brown print.

Images courtesy of IMAXTREE/vogue.com

Anderson’s latest implies that his uptown ladies are ready to go out and possibly travel to warm destinations this fall and winter and show-off their figures. At the very least, if they elect to stay home, they’ll be resuming their at-home entertaining pre-pandemic style where the invite reads, “Please dress for dinner.” For this round of entertaining, leave the sweats at home, even if they’re cashmere, and put on a pretty dress and heels.

—Vivian Kelly

MELKE Spring 2022

September 10, 2021 by admin Leave a Comment

Emma Gage, founder and designer of MELKE, tells us that MELKE’s spring 2022 collection is inspired by “the polymorphism and abstraction of Autobiography of Red: a Novel Verse by Anne Carson. The deadly encounter turned love story between Geryon and Herakles is seen in the color palette of rich blood reds, purples, pinks, blues, and dark tones juxtaposed with soft fringe, heavy chains, and feminine cuts.” Carson’s novel reimagines the Greek poem Geryoneis by Stesichorus as a love story between Geryon and Herakles that explores abstractions in human perspectives relative to distance, space, and relationships. Carson’s writing, “I will never know how you see red and you will never know how I see it,” substantiates the idea that MELKE’s collection is meant to be perceived differently by each viewer, an intriguing element.

Anne Carson writes, “there is no person without a world,” and similarly, there is no MELKE without Gage’s creation. We are immersed in MELKE’s world from the beginning of the presentation as the audio sounds like we are being taken underwater to a mythical, muffled, windswept world where fire can’t be drowned. Much of the collection centers around movement and fluidity; textured red fringe details populate many of the pieces along with feminine ruffle cut-outs contrasted against copper chains and silver hardware loops hanging from blue tailored cropped suit jackets. One look in particular features a white cropped tube top with textured red fringe on the bust to form a three-dimensional piece with depth that seems to extend past the frames of the presentation. The top is paired with white tailored pants with red fringe details along the center seam. The concept of fluidity extends to the models as all present a gender fluid image that contributes to MELKE’s vision. MELKE would not be MELKE without its green focus on sustainability; many pieces are made from organic cotton, cruelty free wool voile, and hemp variations.

Carson expresses an intrigue with words in the novel which translates to MELKE’s collection. Carson writes, “Words bounce. Words, if you let them, will do what they want to do and what they have to do.” Two tee-shirt pieces in the collection feature bouncing letters in MELKE’s signature font. One black tee shirt has “CURATED SILENCE” written on it in red while the other is a white tee shirt with “MELKE IT” in black. “Curated silence” describes the collection perfectly; pieces are carefully detailed, while the presentation is generally silent which forces us to tune in fully.

The most interesting vignette of the presentation features three models moving parallel to each other towards flickering red candles. The center model wears a fire detail edge crop top which is also seen in the hem of a skirt. This visual mimics a scene in Carson’s novel in which Geryon, Herakles, and Ancash stand in front of a volcano, each perceiving the image differently. Geryon vocalizes the beauty in being “neighbors of fire” which speaks to the significance of the distance and relationships between humans. MELKE’s collection conceptualizes this through visuals as the space and interactions between models is just as interesting as the blue, red, and black oversized jackets, patterned cut-out dresses, fiery red fringed and pleated pants, and intense eyeshadowed heavy faces.

Images courtesy of MELKE

Emma Gage explains many of the details of the collection through imagery and symbolism: “lava is a constant reference throughout, many of the silhouettes and cutouts came from my melting wax and seeing the shapes they took as they dried. The chains represent the idea that we can feel trapped by what can also set us free.” Ultimately, she notes that the collection is about self-acceptance and awareness as it “acknowledges the growth that comes from destruction, flowers that rise from the ash, and peace that comes after chaos.”

—Tessa Swantek

LaQuan Smith Spring 2022

September 10, 2021 by admin Leave a Comment

LaQuan Smith has unquestionably established himself as the go-to designer for the international jet set party girl. Fashion Reverie visited The Webster post-show to view the collection in greater detail, and these clothes looked even better up-close, when we were able to admire the fabrics and detailing.

On display were LaQuan’s signature creations, such as his V-neckline halter bras. This piece looked great in aqua with a pair of white patent leather pants. The twist front bra top in sheer gray lace looks great with a matching head scarf and knee length pencil skirt. Another quintessential look was his figure-hugging mini dress with a super low neckline and giant puff sleeves in red satin.

He followed with contemporary versions of the little black dress, a white tee shirt dress with a built in bustier and a black crepe long sleeve mini dress with a deep side cut out—all the better to show-off those toned abs. What really made the outfit, though, was the one-of-a-kind giant mink hat that is retailing for $18,000.

For more casual days, there’s a black logo sweatshirt that can be worn as a sexy minidress or with leggings for a day out shopping. The hand-painted black and white art deco print trouser and jacket were made of the softest leather imaginable. The suit presented many styling opportunities for day to night dressing, as did the white rhinestone bodysuit shown with a white patent leather pant with strategically placed cut outs.

The super glam began with a Grace Jones style rhinestone hooded minidress and matching string bikini top. The glam continued with a white marabou feather chubby jacket and white twist front dress that brought back memories of Tom Ford’s early collections for Gucci, as did a black lace bustier with a built-in bra top and matching diaphanous harem pants.

The show closed on a strong note (52, 53) showing a modern way to pair a humble white tee with a dramatic side slit skirt, as Sharon Stone did years earlier at the CFDA Awards.

Images courtesy of LaQuan Smith

For those who love their track pants, the black satin tuxedo pants with jewel encrusted stripes and a draped fringe halter are just right for athleisure black tie dressing.

While the show was a bit longer than other runways, it was good to see that this designer is predicting that his girls will have plenty of occasions to go out and get dressed up for.

—Vivian Kelly

Cult of Individuality Spring 2022

July 27, 2021 by admin Leave a Comment

When a fashion brand looks to music and youth culture as sources of inspiration, one of the difficult challenges is keeping that brand fresh, current, and accessible. Cult of Individuality consistently accomplishes that goal. And its current collection demonstrates how adept Creative Director Ron Poisson is at injecting a special kind of joie de vivre into his collections.

“Authenticity has always been a part of the brand DNA of CULT,” says Poisson. “We never want our collection to seem forced, or mass produced. We work vigilantly to make sure every CULT of Individuality garment looks like it was broken in overtime and got its character by being worn countless times.”

Cult of Individuality’s spring 2022 collection did not spry too far away from the brand’s signature aesthetic which is a comfortable exploration in the many ways you can combine denim looks and fuse those looks into a palatable assemblage that appeals to the modern consumer. The trick is to keep this signature look fresh and correct without looking as though the brand is pandering to consumers or making gimmicky clothes. That is where Ron Poisson’s intelligence comes into play.

Thought this collection is heavily infused with hip hop references and projects toward mostly an 18 to 28-year old demographic, there are looks that can appeal to a very wide demographic be they Gen X, Gen Y, Gen Z or a hip baby boomer. And that inclusivity is front and forward because Poisson taps into a wealth of musical genres and cultures, from grunge to rock n’ roll to hip hop and skateboard slacker culture.

Staying on the trend, the brand’s logo was emblazoned on jackets, tee shirts, sweatshirts, and jeans; however, unlike some similar brands that place a huge emphasis on braggadocio logo placement, Cult of Individuality keeps its focus on design and fashion-forward sensibility. And like many brands Cult of Individuality has incorporated collaborations to expand their audience. For this collection, the brand collaborated with the glam-groove band Pantera.

“We don’t give a $&*# about what is going on in the traditional fashion marketplace. We start each season with a clean slate, a new beginning,” says Ron Poisson. “Our team then looks to music. We find inspiration in all sorts of music in all genres and from that we start designing. Our foundation is always denim. From there, we add in silhouettes, colors, washes, graphics and a bunch of details from traditional Japanese and American work wear and we always end up a collection we are obsessed with!”

Images courtesy of VERY New York

Well said, Ron. And we are obsessed with Cult of Individuality!!

—William S. Gooch

For the Love of Culture and Community—Pyer Moss Couture Fall 2021

July 15, 2021 by admin Leave a Comment

The most anticipated runway of Paris’ Fall/Winter 2021 Haute Couture Week was arguably the Pyer Moss show. Haitian-American designer Kerby Jean-Raymond was invited by the Fédération de la Haute Couture et de la Mode (the governing body of French fashion) to present his first couture collection as a guest member of the organization. As such, Jean-Raymond became only the third American (and first black American) designer to be designated a true couturier and present a collection as part of the Chambre Syndicale de la Haute Couture, with Main Bocher in the 1930’s and Ralph Rucci from 2002 to 2009, and again in 2019. But true to form, Jean-Raymond, ever the social activist and creative outlier, did things his way. Rather than take his collection to Paris, he brought Paris to New York. He displayed his first couture collection of 25 looks in an extravaganza that celebrated Black excellence and ingenuity, and highlighted Black culture and community.

Image courtesy of guest ofa guest.com

Black history was incorporated into every element of the presentation, from the venue, to the theme, to the soundtrack, to the after party. The setting was Villa Lewaro, the Hudson River suburban estate of Madame C. J. Walker. Walker is credited as America’s first female self-made millionaire. In the early 1900’s, she amassed her fortune by developing a line of cosmetic and hair care products that were sold across the United States and Central America. In 1916, Walker commissioned Vertner Woodson Tandy, the first African American registered architect in the state of New York, to design her home as an example for her people “to see what could be accomplished, no matter what their background.” After its completion, it served as an intellectual meeting place for prominent figures of the Harlem Renaissance. Today, it is part of the New Voices Foundation, which helps women of color entrepreneurs achieve their vision through innovative leadership initiatives. As the backdrop to the Pyer Moss couture show, the torch was passed to Jean-Raymond, as the grounds once again served as a host of art, intellect, business, and community.

Image courtesy of townandcountry.com

The runway show was preceded by a rousing speech by activist and former Black Panther Party chairwoman Elaine Brown. Brown is the only woman to have spearheaded a chapter of the Black Panthers. In her speech, she spoke of being a revolutionary. She regaled the audience with stories of the Black Panthers’ deep community involvement and unified resistance alongside other social justice groups. Brown charged the crowd to look beyond their individualities, settle their differences, and come together to fight for freedom—because all power belongs to the people.

Images courtesy of hypebeast.com

Immediately following Brown’s prologue, the runway show began. Twenty-five looks, all inspired by Black inventions and modifications. Some looks had obvious references, like Garrett A. Morgan’s traffic light and Lyda Neman’s synthetic hair brush. Others were more fashionably abstract, like Thomas Martin’s fire extinguisher and Walter Sammons’ hot comb. And others were completely campy, like Amos E. Long & Albert A. Jones’ bottle cap and jar of peanut butter associated with George Washington Carver. But no matter how avant-garde or how traditional the look, each creation was a wearable outfit once the fanciful elements are removed.

Images of hypebeast.com

While the audience was visually entranced by the runway, they show was sonically buoyed by Brooklyn rapper 22Gz. Surrounded by roughly a dozen Black and Brown dancers, accompanied by a string orchestra and bucket drummers comprised of Black musicians and background singers, led by a Black conductor, the music artist performed a string of his songs, ending with his hit “King of NY,” to which Kerby and his team took their bow.

Image courtesy of usatoday.com

And with that, the half-hour presentation came to an end. However, the event itself continued. The entire production was an homage to Black culture, and in keeping with Black traditions, an after-party, in the form of a family cookout, took place. Celebs, journalists, and tastemakers all mingled together as they ate soul food and sipped cocktails while the DJ played.

Images courtesy of hypebeast.com

This was the renewal of the FUBU (For Us By US) concept of the 1990’s. Kerby’s collections are renowned for showcasing the Black experience, the good and the bad (this collections final look was inspired by Frederick McKinley Jones’ refrigerator, with magnets that read “But Who Invented Black Trauma.” And instead of showing his collection in Paris and presenting before what would have presumably been a mostly white audience, Jean-Raymond presented closer to home, on hallowed ground, in front of an audience mostly of Black and Brown faces—faces that may never have otherwise had the opportunity to attend a couture show.

Image courtesy of okayplayer.com

This event, rained out on its original show date and rescheduled for two days later, brought together a true mélange of guests, lifestyles, and experiences—classical music, hardcore rap, Black activism, soul food, and haute couture. Saturday’s show has been added to the list of firsts, but hopefully it won’t be on the list of lasts or onlys. A Brooklyn boy has become a couturier. He has shown what can be accomplished, no matter your background. With this collection, Kerby Jean-Raymond continues to play the role of door opener rather than gate keeper, and continues to be the bridge between the ancestors and the future generations. Both should be pleased. Asè.

—Carl Ayers

Miami Swim Week Spring 2022 Roundup

July 13, 2021 by admin Leave a Comment

After a one-year hiatus, the Miami Swim Week shows were back in full force. Fashion Reverie spent two days in sunny Miami viewing the latest swim and resort 2022 collections. The shows were held at two principal venues, the Paraiso Tents and the Art Hearts Faena Forum, and at a sprinkling of luxury hotel properties near the Tents. Below, the four standout collections of the week.

Mar de Lua images courtesy of Max Flores/Click Magazine

Destination Columbia

Destination Columbia was a group of eight Columbian fashion designers who showed Thursday night at the Paraiso Tents. The brunch at the Ritz allowed for press and buyers to have a closer look at the swim and resort wear. Each of the eight designers had a carefully curated rack and was on hand to answer questions about their respective collection. The Columbian designers all embraced sustainability as an integral part of their creative process.

The designers Fashion Reverie spoke with, Naranja Furcado, Palmacea, Smeralda, and Mar de Lua, delivered luxurious sustainable swim and resort wear at reasonable pricing. While all were noteworthy, Mar de Lua bears special mention. Designer Carolina Diazgranado was a teacher before founding her brand four years ago. She vowed to be sustainable from the start; at this point, she estimates the brand is 65% sustainable. The collection on display was titled, “Boho Blossom, Resort 2022.” The signature look was a summer blossom and animal print rendered in neon colors that Carolina said made her think of “forever summer days”. Best in show was the look that opened the Thursday night show, a vibrant yellow smocked 70s-style bandeau top with a modest, striped hipster bikini bottom, headscarf, and floral print floor-length caftan. The coverup’s long ruffled sleeves gave it a dressy quality. Carolina suggested adding some chunky gold jewelry and heels to transition the outfit from day to evening.

B FYNE images courtesy of Max Flores/Click Magazine

BFYNE Swimwear

The BFYNE Swimwear presented by Models of Color Matter [runway] show kicked-off with an inspirational video that explained designer Buki Ade’s journey back to her African roots as part of her creative process. The video cited the bright colors and textiles that are an integral part of African culture. Colors stayed in desert palette tones: ochre, earth brown, and the orange of the setting sun. There was a tiger-patterned flowing caftan and a bamboo-patterned skirt and top in a vibrant grass green. The simplicity of the solid-colored swimsuits paired well with the colorful pants, tops, and caftans.

Overall, ease and movement were key points; these are clothes and suits that accommodate all shapes and sizes of beauty. The only disconnect was that none of the vibrant prints in the video appeared in the show, but perhaps it served as a teaser for what is in store for Buki’s next collection.

Leimakani images courtesy of Max Flores/Click Magazine

Leimakani Hawaii

Twenty-three-year-old Kali’a Wasson is the creative talent behind Leimakani Hawaii. This Hawaiian native has already had her designs appear on the pages of Sports Illustrated Swim. Kali’a debuted her latest collection at the Plymouth Hotel’s pool deck. One of her staple styles is the triangle bikini featuring native Hawaiian flowers. Of special note was the large red and pink rose print which is Hawaii’s state rose. The two-piece suits come with matching semi-opaque pareos that double as head scarves and palazzo pants. There are also caftans to match the suits, all at attractive price points, starting at $60 and topping out around $125.

Like many millennials, Kali’a is keen on size inclusivity. “We are a brand that stands firm in changing the narrative on the social standards of beauty and body image. We strive to make all women feel beautiful and confident.” There were the tiniest of Tarzan style string bikini bottoms as well as high waisted styles that provided more ample coverage. Kali’a is also taking steps to make her work a little more sustainable and is looking for a manufacturer who can help her achieve this goal.

HONEY Birdette WET images courtesy of Max Flores/Click Magazine

Honey Birdette WET

The Honey Birdette WET show was unquestionably the most anticipated event of this Miami Swim Week. This may have been partially due to it recently being acquired by Playboy (PLBY Group Inc.). Australian designer Eloise Monaghan began her brand in 2006 over a glass of champagne with a friend and currently has 60 physical stores, according to The Wall Street Journal.

Business deal aside, Monaghan delivered the goods at her show. The promo postcards were slick and high gloss, right in line with the show’s theme. The advertising was reminiscent of Tom Ford’s salacious “F—g Fabulous” ads.

She opened with the brand’s signature three-piece boudoir sets, in black, lime, magenta, and turquoise blue. The pieces fit the models as if they had been made specifically for each girl. HB is a luxury lingerie brand, after all, and retails for $170 for the teeniest bra and thong set to $310 for a pushup bra, garter belt and thong “Waspie” set.

Monaghan used her platform as a player in the luxury lingerie space to expand into the swim category. She called her capsule swim collection “Honey Birdette WET.” There were well-cut solid two pieces in punchy red and blue with peek-a-boo detailing on the bras and big Versace-style gold medallion closures that doubled as ornamentation on the bottoms and some of the tops. The most notable models were “RuPaul’s Drag Race” contestants drag Queens Violet Chachki, Naomi Smalls, and Aquaria aka Giovanni Palandrani, who closed the show in a “Sheena of the Jungle” asymmetrical leopard one-piece.

—Vivian Kelly

Jimmy Choo Atelier Couture Bridal Spring 2022

April 8, 2021 by admin Leave a Comment

Once upon a time, Jimmy Choo was a little-known bespoke cobbler working in obscurity in London. “Jimmies” were the well-guarded secret of the women who worked at British Vogue —and then, Princess Diana became a client, and the fairytale really began. The Princess’s patronage made Jimmy Choo a household name. Tamara Mellon stepped-in as co-founder in 1996, and strategically grew the house into a mega brand before exiting in 2015. Choo in turn joined Atelier and turned his attention to designing romantic wedding gowns.

The designer is giving his post-Pandemic brides-to-be ample choices for their 2022 walk down the aisle. Unlike many bridal couturiers who elected to show micro-collections of less than ten looks, Choo went big and showed 34 gowns, more in line with a ready-to-wear collection presentation. To appreciate the scope of the collection, one must take the time to watch the video presentation as well as peruse the individual show thumbnail photographs. The video showcases the first eight looks that have a strong “Princess Aurora” feeling. Perhaps Choo and his team were inspired by Walt Disney’s “Sleeping Beauty,” and Disney’s spin on the romantic French fairy tale. There were lovely Art Nouveau details in the form of delicate beading and embroideries evocative of the flowers and branches of a beautiful wild garden. The video presentation showed a lovely grouping of eight gowns, that were right on point.

The surprise started with (look 9, when Choo took a hard-right turn. The red-carpet style dress in vermillion red was devoid of embellishment other than a sky-high slit and pussycat bow on the back that gave it a distinctly 80s’ twist. In fact, this shade of red figured prominently in the collection. There was a total of six red gowns, ranging from the former to frothy dresses with plenty of tulle layers (looks 10, 24). Red was not the only color he used liberally. Navy and baby blue made a showing in six looks as well (looks 17,20, 22,28, 30, 31). Choo went back to the fairy tale with (looks 18 and 33), both white strapless gowns with enormous Cinderella–style ballgown skirts, featuring layer upon layer of tulle and organza.

images courtesy of Jimmy Choo

Overall, the collection could be viewed as a bridal and black-tie collection rolled into one. Alternatively, 2022 brides may decide that they don’t want to walk down the aisle in white and would prefer to embrace color for their big day.

—Vivian Kelly

Anne Barge Bridal Spring 2022

April 8, 2021 by admin Leave a Comment

There is a plethora of bridal brands on the market that can appeal to a range of different kinds of consumers. If a bridal consumer is in the market for out-of-the-box bridal gowns there are brands—THEIA, PatBO, Rita Visneris, Nordeen, Carol Hannah, and others—that can satisfy that audience. If the bridal consumer is looking for a more traditional fare, there are brands that aptly meet that standard. Anne Barge is one such brand.

For spring 2022, Anne Barge looked to vintage French aesthetic of romance for inspiration for this collection. Though this was quite a small collection—nine looks to be exact—compared to previous outings, this collection contained a variety of clean, architectural silhouettes that fits perfectly into what the modern bride is looking for. And true to form, many of the looks in this almost capsule collection were timeless.

There were a couple of voluminous Cinderella-type ball gowns, as well as a few very simple silhouettes in this collection. What stands out most in this outing was the details in structure and embellishment. Oversized floral prints bloom on jacquard fabrics, ethereal laces, and satin organza, while minimalistic gowns are draped in stretch crepe, faille, and silk Mikado.

Standout looks in this collection was Anne Barge’s version of the little white wedding dress. Other standouts for the brand’s micro-pleated velvet-fleeted ballgown with strapless flounced neckline, and beaded Chantilly lace trumpet gown deep V-notched neckline.

Images courtesy of Anne Barge

Since 1999, Anne Barge has always instilled a classic sophistication and elegance to every bridal collection. And though, at times, the brand has slightly veered away from its design aesthetic of classic elegance, Anne Barge has set a standard for sophisticated elegance seen through the lens of modern beauty.

William S. Gooch

Gracy Accad Bridal Spring 2022

April 8, 2021 by admin Leave a Comment

Romantic, minimal, bohemian glamour is what comes to mind when one thinks of the spring 2022 bridal collection from Gracy Accad. Known for the embroidered and lace details of her bridal gowns, Gracy hones her talents to portray feminine elegance with a modern, youthful sensibility. A recent bride herself, as of 2020, and having a family that works in the textile and manufacturing business, Gracy has first-hand knowledge of what is needed and wanted in a beautiful wedding gown.

For spring 2022, the Gracy Accad bridal couture collection sticks to the classic color palette of white, off-white, and ivory. The silhouettes range from traditional and modest to Old Hollywood.

The draped bustier and beaded floral appliques of the Greenwich gown conjure up images of a woodland fairy. This sleeveless floor-length gown speaks of youthful innocence. The V-neck Madison gown is adorned with pearls and crystals, giving it a quiet air of sophistication. The Margherita is a ball gown incorporating hand-embroidery atop the bodice and waistline with the lightest touches of embroidery along the hem.

For the bride who wants something that is more fun and flirty, there is the Soho. With an all-over lace design, full sleeves, and scalloped edges, this dress sounds … mature. But with the plunging V-neckline and thigh-high hemline, this dress is not made for the shy bride. Alternatively, if it’s too daring for the nuptial ceremony, it can be worn as her dress for the post-wedding reception. But for the bride who adores Hollywood glamour, there are the Plaza and Chrysler dresses. The Plaza is a floor-length gown with a hand-embroidered band top, akin to a loose bandeau, accented by sheer cutouts along the side and back.

The Chrysler, which could be another celebrity favorite, is made to stun! This simple shape is draped in a plunging V-neckline with cap sleeves and a slit that comes to mid-thigh.

To accompany the couture collection, Gracy Accad also offers a ready-to-wear (RTW) bridal collection. In contrast to the white aesthetic of the couture arm of the brand, the RTW collection has three gowns in gold brocade, midnight blue, and sky blue. The Colette is a belted full-length, off the shoulder gold brocade gown with a secret element- pockets! The Celeste is a dark blue formal ball gown with asymmetrical beading making it resplendent for a wedding or a night at the opera. True to the inspiration of the collection, the Belle is sky blue belted, long-sleeve, embroidered Bohemian dream.

Images courtesy of Atelier PR

What began eight years ago as creating bespoke pieces for clients in New York, France, Korea, and Japan has morphed into a blossoming brand, helping brides look their most beautiful self on their most special day. From old chic to modern glam, traditional imagery to Bohemian inspiration, you cannot go wrong with a Gracy Accad wedding gown.

—Carl Ayers

Marchesa Bridal Couture Spring 2022

April 7, 2021 by admin Leave a Comment

Images courtesy of Marchesa

In a pre-presentation interview with Rachel Leonard, editorial director of The Bridal Council, Georgina Chapman described the collection as “achingly romantic,” which is completely on-brand with her label. This micro-couture collection is her first collaboration with Pronovias Bridal, the leading global luxury bridal brand with subsidiaries in New York, Italy, and Shanghai.

It’s hard to get more romantic than the breathtaking “White Gardens” at the Elizabethan Sissinghurst Castle located in Kent, England that Chapman and her team drew inspiration from this season. The gardens were a special project of writer, Vita Sackville-West’s, who worked on achieving her vision for her garden over the course of three years spanning from 1950-1953.

Images courtesy of Marchesa

This season, Georgina Chapman also worked with an extremely limited color palette, relying on cut, textural contrasts, and detail work to make this latest collection a stand-out. Chapman showed only seven looks, but here is a case in point where less really is more; each look had a unique personality. (Look 1) was an interesting contrast of a snug ballerina neck lace top paired with an organza bell skirt that resembled whipped meringue. The high slit gave it a saucy spin. (Look 2) has a distinctly ready-to-wear flavor. It’s easy to imagine a colored version of this long sleeve form-fitting lace gown on the red carpet come the next round of award ceremonies. A fairylike V-neck gown with lace overlay and elbow length sleeves pooled beautifully around the ankles (look 4). All of the above were on-brand Marchesa Bridal.

The surprise came in form of (look 7), where Chapman and her team took a departure from their usual figure-hugging silhouettes and created the “Versailles Gown.” The strapless creation had a plunging bodice and massive ball gown skirt, evoking the sumptuous gowns courtesans and royals wore in the 17^th and 18^th century French courts. Another nod to the White Gardens came in the form of silk petals meticulously sewn from the bodice all the way to the hemline. A flower head piece completed the reference. Marie Antoinette would have approved!

—Vivian Kelly