The draped peplum is the center of attention in this gown, and it gives a bold, architectural emphasis to the silhouette. The soft shadow in the drape contrasts with the clean, straight lines of the skirt and the train.
I love the delicacy in this collection, but with Freya, I gave it some rigidity and some strength. You can see the exposed organza corset, which is a detail I’ve used in several of the gowns. Here in Freya it gives us a look at the underpinnings, the boning and hooks of the dress in a very contemporary way, so that it’s almost a little cheeky. I think this is very Modernist: the bride who wears this dress will appreciate the romance of natural settings and organic lines, but she is also drawn to the artfulness of the construction. The sensuality of the bare shoulders is irresistible to her, which is an opportunity I always appreciate when I design. A strapless neckline also strikes the perfect balance between propriety and flirtation.
The bride who wears Freya assumes a role that’s a little dramatic, because she’s countering all of this softness and gentleness with a very designed and rigid form, almost like a column. I see her as a very cultivated woman, someone who could be the subject of a John Singer Sargent portrait. She might go to a quiet garden party but she’ll be the center of attention.
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