Gwendolyn is like a cascading waterfall, or rushing stream—this dress is in motion everywhere, at all times, from head to toe. It doesn’t get more organic than this.
Carefully articulated pleats flow from the shoulder down the bodice, and around the back. There’s always a new line for the eye to follow, a new movement to trace. I think of Gwendolyn as an opulent dress, but it’s a more natural opulence: everything the eye beholds has a natural rhythm.
Across the body, these dramatic, swirling starbursts drape as if they’ve been painted on with a generous brush. It’s all basketweave gazaar, so it really has a beautiful textured, woven effect. And every hand-made pleat is slightly different from the one done before it. Each time a bride is dressed in Gwendolyn, it’s like we’re making a snowflake! And, of course, the pleats will all drape differently on each body.
It’s in the back where Gwendolyn is the most dramatic, where she truly shines. A plunging “V” is delicately pulled together with a single perpendicular strap just below the shoulder blades. It’s designed to draw the eye to the gathered and tucked pleats that ebb and flow from the torso, which have been very carefully engineered to give them that open, fanned look without ever collapsing into each other—they actually snap on in different pieces.
There’s so much detail in Gwendolyn, but instead of doing it with lace or beading, it’s all in the way that the fabric is manipulated; it’s in the architecture. That’s what I love: a complex design that looks effortlessly chic!
I did a version of Gwendolyn in emerald for Mila Kunis at this year’s Golden Globes, and she looked stunning. This is definitely for a bride who’s fashion-forward, who wants to be front and center with an unmistakable look.
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