TODAY YOU'LL FIND ME. . . .

 . . . On One Wed Blog talking about some incredible finds for spring 2012.  If you're curious about where me and my fellow indies are finding all that inspiration to create those ahead-of-the-curve dresses and accessories hop on over . . . The preview above and below are two of my faves from designer Erica Elizabeth Design .  I'm feeling so much retro this season being fine-tuned to look like it really came out of an era gone by . . . . 

TULLE-ING AROUND

In my experience working with brides I find they either totally love tulle or absolutely can't stand it.  I ask you though, what could be more bridal than a cloud of soft tulle?  Defined, tulle is that fine mesh netting with a hexagonal pattern that comes in silk, cotton, nylon or acrylic silk for power netting.  Tulle, aka illusion, is familiar because its the standard material for bridal veils.  Did you know it also comes in lighter versions and is used in bouffant skirts?  The ones here give off that romantic look evoking ballerinas and Boho princesses.

 Above the skirt is made of silk tulle with a Chantilly lace bodice.  A matching pouf of tulle is worn to the side of the head . . .

 Ahhhhhh! The many uses of tulle.  Above is a tulle A-line strapless dappled in organza roses with a matching tulle wrap.  Below: Perfect for spring! A tulle picture hat dappled with silk florals

All gowns and headpieces by Amy-Jo Tatum Bride

Photos copyright by Bride Chic

Models: Jocelyn, Tracey, Natalie and Brooke

VINTAGE SPRING

Something about vintage and spring pairs up so nicely.  Here are some creations-- dresses and head chic inspired by the best parts of nature.  Add silhouettes evocative of Christian Dior who revolutionized fashion with his hourglass silhouette, showing off a cinched waist atop skirts flowing in yards of silks and layers of crinoline. Recently this defined waist has made a come back and brides are loving it. . . .  Directly above and below is a dress in tulle dappled with rose petals on the skirt.  The headpiece is an organza rose with leaves forming a silk dupioni cap . . . .

 Headpiece of Point d'spirit.  Directly above: Tea-dyed tulle and Chantilly lace dress with a square neckline. Bodice is shirred and pleated with motifs of Chantilly lace underneath. skirt is five layers of tulle with China silk rose-beige skirt lining.
White cotton eyelet A-line dress with Sabrina neckline paired up with picture hat adorned in Daisies . . . .

Marilyn-style halter dress in all over Chantilly lace.  Head pouf of French netting and hand-rolled organza flower . . . .

Tulle dress with close fitted bodice covered in Chantilly lace appliques with an overlay of shirred tulle. The rosy tint of the tulle is the result of a tea dye. Cinched waist with a gray satin belt.

 Cotton eyelet dress with bateau neck and floppy brimmed sisal hat with striped bow and Daisy.  White cotton vintage gloves . . . .

Dresses by Amy-Jo Tatum Bride

Model: Jessica Farwell

Photos copyright Bride Chic

1930s BRIDAL FASHION

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Never was there a decade more in sync with cinema than the 1930s. Hollywood designers and the actresses who wore their creations influenced the way we look at weddings and fashion today. What could be more 30s than Robert Kalloch's creation above for Claudette Colbert in It Happened One Night? The body-hugging bias cut was still a new, even radical concept in 1934, especially for a wedding gown. During this golden era, it was not Paris anymore as much as Hollywood that decreed fashion. This simple satin gown with florals surrounding the neckline could be found today in a few designer collections. The look has become timeless. Attached to the cap head piece you'll see miles of chiffon netting, a light and airy fabric the designer chose because in this story, Colbert needs to become the runaway bride once she decides Clark Gable is the one. As she runs, the veil, long as it is, lifts and floats beautifully off the ground to produce a kind of 'bride in flight' look.

Joan Crawford in Forsaking All Others 1934

When Hollywood designers are mentioned two stand head and shoulders above all others: Adrian and Edith Head. Head of course had flair and that remarkable staying power. In a highly competitive arena, she outlasted just about every designer for two generations in Hollywood(or was it 3?). Then there was Gilbert Adrian, head of costume at MGM from 1928-1942 in a time that would mark his fourteen-year reign one of the most innovative in Hollywood. His inventive, often shocking designs are still state-of-the art today and evoke glamour always. He dressed Jean Harlow, Joan Crawford and Norma Shearer and was instrumental in helping make them beautiful for the camera, so they would eventually go on to become icons. Seventh Avenue had particular interest in Joan Crawford’s screen wardrobe and the MGM publicity machine made sure pieces from her 'movie wardrobe' were in stores in time for the release of her pictures. Adrian’s famous Letty Lynton dress you see here in white organdy is an example; Macy’s in New York sold half a million copies of it (not bad for 1933 when most of the world was feeling hard hit by economic depression).

 

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Fred and Ginger were the icons of romance during the Golden Age of Hollywood. If you've checked out most of the top designer bridal collections the past couple years, the Astaire-Rogersesque glamour is still allover the radar screen. Ginger's gowns were legendary yet no one designer was synonymous with creating her costumes at RKO. The famous Feather Dress above by designer Bernard Newman hails from Top Hat 1935. She was also dressed by Irene Sharaff,and Walter Plunkett.

Woman of the Year

Kate hepburn's roles had her wearing sportswear out on the golf course while her at home and evening- chic were the ultra-fem confections of Hollywood designers like Adrian and Howard Greer. Hepburn's wardrobe in Bringing Up Baby and The Philadelphia Story did indeed inpire some delectable bridal wear.

The Philadelphia Story

HAPPY MONDAY!

Here's a real inspiration to get you going on this early spring Monday.  Any picture by fashion and wedding photographer Shannon Stellmacher is a pictorial kind of poetry, this one in particular illustrating the rustic beauty of Annadel Estate Winery in Valley of the Moon in Sonoma County, California.  I absolutely adored this stylized shoot we did a few months back, called The Vineyard Bride.  The gowns were vintage, the back drop vineyard--a stunning combo . . . .

Makeup and hair by Julie Morgan/ model Lori Dorfman/Dresses by Amy-Jo Tatum Bride

TODAY YOU'LL FIND ME . . .

 
 Over on One Wed Blog talking about lace and organza, two things that just happen to make designer Alice Padrul  a real and true romantic when it comes to creating bridal fashion.  Her creations are light, ethereal and inspiring; her greatest works being her one-of-a-kind custom pieces for primarily Chicago brides (that is where herflagship salon is) they are in a word, awesome . . . .READ MORE

TUTU CHIC

More brides are opting for something borrowed from the romance of the ballet---full skirt in tulle . . .Tutus offer the versatility of being worn after the wedding. These by Lunitique Boutique show off the true beauty of tulle. . .

NEW TWISTS ON AN OLD TRADITION

Here's is a perfect example of mixing up styles to create your own trend.  Our bride above is a little bit Boho, a tad traditional all dressed in white Chantilly lace and contemporary in her red satin pumps.  I found this incredible image on Vogue Novias where you can enjoy a video with more gowns and wedding splendor from Sunny Spain . . .

ADDING A LOOK OF ANTIQUITY

 
We're seeing a resurgence of Edwardian and pre-1920 styles over the last few seasons.  Could this perchance be due to the popularity of the BBC Series, Downton Abby?  Or Hotel Grand?  Both series are British and set in WWI England, a time synonymous with lace, silk and jewelry in pewter and gold.  Below are just a few ideas to inspire you on to creating a romantic early 20th Century look . . . .

 
 

Header Photo:  Allison Bridal Gown by Shone;

Row 1: Edwardian Silver Silk Wedding Gown by Petrune; Lace Necklace by White Owl

Row 2: Simple White Fine Art Print by Diem Design Photography; Vintage Antique Edwardian Gown by Junee Moon Vintage

Row 3: Chantilly Lace Cloche by Amy-Jo Tatum Bride;  Edwardian Brown Suede Boots by Captain Cat

Row 4: Lace Wedding Mitts by DeLoop;Unlocked Secrets Art Print by Junkyard Glitter

Row 5:Dangle Drops by Galaxy Gems;  Lace Fingerless Glove Mittens by Zen and Coffee

Siren's Sister Headdress by Mata Hari's Daughter

Wedding Bracelet by Little White Chapel

Row 6: Touch of Love Veil by Sibo Designs; Cotton Voile Edwardian Dress by Adanta 3

Row 7: Engraved Locket Necklace by Lauren Blythe Designs; Gold Lavalier diamond ruby pearl neklace by The Collected Collage

Row 8:   Swarovski Crystal Necklace by Cynthia Couture; Black Onyx Necklace by An Altered Affair

THE PIN UP WEDDING DRESS

From Betty Grarble to Bettie Page, Pin Up still symbolizes the vintage glam gracing calendars and  girlie mags originating in the1940s.  Short and perky, these little dresses by Pixie Pocket of New Zealand embody all that we know and remember as 'Girly' dresses from this era.  I'm in awe of the beautiful fabric used in every reation here: A delustered Duchess satin--simply gorg . . . . 

TODAY YOU'LL FIND ME . . .

Jan Leythan-Gain

 . . . . Over on One Wed Blog talking about The All White Wedding.  Going 'All White' has it's own history that was steeped in formality and the size of the guest list.  Going 'All White' was often code for, 'Going to the max' or Puttin' on the Ritz.  Now times have changed.  The All White wedding can be adapted to any style whether you're going casual or high formal.  All White though still means, Here Come the Bride All Dressed in White with her bridesmaids wearing the same.  READ MORE . . .

THINGS I'VE LEARNED WORKING WITH VINTAGE PATTERNS

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 Q: Do I need an actual vintage pattern to create a retro look like the dress above?

A: No.  But being a perennial student of fashion and working with a set of instructions over 50 years old is nothing short of, like WOW, so totally awesome!  For me, vintage patterns offer up an experience about as close to to time travel as I'm ever going to get. These are the images I grew up with . . . sewing patterns from the 1950s-60s. Moms and grandmas back then more often than not owned a sewing machine they actually put some wear and tear on. These patterns were inspiration points for me; the models in the illustrations looking like something you’d find on an episode of Mad Men.   I never forgot those nipped in waistlines and yards of skirt, collecting an array of 50s chic as well as patterns through the years.  Here are a few things I learned along the way working with vintage patterns:

1. Not only are silhouettes reminiscent of an era, did you know overall cut, types of darts and dart lines are as well? 

2. With all the changes in machinery over the last thirty plus years as well as hemming products, range of notions available and faster techniques, whoever is making your dress will have to know how to adapt instructions provided by the original pattern.

3. Unlike today's patterns that include multiple sizes in one package, those from yesteryear are a one size only deal.

 

Above photos by Stephanie Williams Photography/Patterns So Vintage

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Photo by Bride Chic 2011/Model Victoria Cappuccio

And speaking of Mad Men, I have to put a plug in for Janie Bryant, the designer/stylist on the show.  She has such an incredible eye for detail.  If you check out the backs of most of the dresses, they have the lapped zipper application so popular back then.  While not my fave way of closing up the back of a dress, kudos to Janie.  It's little things like this that make the scenes all the more authentic.

Dresses by Amy-Jo Tatum Bride