Katarina is quintessential romance: a gown for the belle of the ball. Imagine a cascade of ribbons unfurling from a tightly-wound spool, with starry explosions of lace, floating delicately through a luxurious expanse of tulle – this is the sweeping statement that Katarina makes in the most whimsical, playful way possible.
A natural waist, strapless corset bodice is appliqued with bits of Chantilly lace – they almost appear to float over the bust cups and the boning, to subtly mask them. It’s a sleek, nipped-in contrast to the gorgeous fullness of the ballgown’s skirt, which is made up of tulle with wavy, horsehair-edged borders in many different widths. At the top of her body, they’re cut very thin, and then towards the bottom, they become wider. Not only is the effect flattering – the bride’s waist looks so sleek and tiny – but it also creates this very dramatic explosion element – a degradé – on the bottom. The horsehair allows the skirt to be really full without the stiffness of crinoline. There’s just this beautiful transparency that just makes you feel like you’re floating on air, as though you’re in a cloud.
There are, of course, a few veiled surprises tucked away in the folds of the skirt. In the front, I’ve placed a feathery, supple flange of tiered French tulle in between some of the tulle layers. So when the bride walks, you see just a hint of texture just nestled into the ribbons of horsehair. It’s a way to mix and match an element that is very modern and architectural – those raw edges – with something that is really kind of sweet and fanciful. And then on the back of the gown on the train, you have this explosion of Chantilly lace floating on top of the tulle and horsehair. This is about walking up the aisle and leaving the guests awed by the back of the dress as you proceed.
Youthful, fanciful, and overflowing with movement and energy – Katarina is a modern fairy tale kind of dress.