The way a dancer can bring the crowd to its feet with a drawn-out, well-executed pirouette: that’s the excitement I wanted to capture with Harlow. That whole narrative of graceful motion, with its combination of stateliness and energy, makes the bride feel as though she’s in a perfectly-formed cloud when she’s in motion.
There’s no heavy foundation in Harlow, just the nice billowing lightness of tulle and organza, in a pastel shade of Charcoal, a color well-suited to the Modernist, contrasted with beautifully pleated, dusty rose embroidery that spirals out from the waist in the train. Think of Degas’s impressionistic renderings of his dancers’ skirts: very diaphanous, just a color floating around the young woman’s form, accentuating her natural grace and presence. A delicate watteau veil in the back softens that geometric effect of the embroidery in the train—and the contrast of the dusty rose pleats and the charcoal overlay make you understand why the embroidery is so special.
The bodice is very minimalistic, but it has a beautiful, asymmetrical basketweave design to it. There’s a corset there underneath, but all you see is the draping, and how it all weaves together like a raised theater curtain.
I made a very conscious effort to avoid sharp angles in this collection. With the ballerina in mind, I wanted everything to refer back to the fluidity and freshness of those movements. A dancer uses both motion and rest to create her art, and it’s that harmony and that balance at the heart of the ballet that kept on inspiring me throughout my work on this collection, and that’s one of the themes that ties it together.