Any time I consider using a material that’s associated very strongly with tradition, I try to find the most modern articulation of that material that I can. It’s very important that my gowns to speak to the contemporary bride. A lot of brides tell me that they’re drawn to lace, which has always been the bridal material par excellence, but it’s easy for lace to feel old-fashioned if it’s not used with the lightest touch possible.
The lace I’ve used in Georgina is very delicate. A base of Chantilly shadow lace acts as the canvas over which I’ve fused a bouquet of hand-cut flowers made of Alencon lace, for an added textural dimension.
The shadow lace is articulated in a very modern pattern: rather than the traditional floral design of classic Chantilly, in Georgina you’ll find a delicate, spidery, circular web that spirals out. This circular, very linear design is much more unexpected. This type of lace almost feels like tulle, with a bit of stretch, so it’s not as heavy. I find that it creates a fragility and a sleekness, as well as a little intrigue, so the bride will feel quite sexy wearing it. This is definitely not your grandmother’s lace!
But even a delicate rose needs her moment of drama, and for that, I’ve added a flouncy, multi-tiered skirt, trimmed with horsehair, that bustles in the back. It really holds a strong, dynamic shape, almost a cage-like effect. It’s dramatic in the most elegant way possible. All this frothiness is balanced with a touch of tulle at the neckline, draped asymmetrically with a kind of purposeful disorder. It’s a very pretty softness and lightness right next to the skin that I just love.
Georgina is perfect for the girl who really wants to show off her body and her shape, yet still have a bit of the grandeur of a ball gown. It’s her wedding day, after all. She deserves to feel fancy!
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