THE ART OF WEARING GLOVES

 


 If you're getting married this time of year or heading into the winter months, thank God for gloves.  They do help warm up hands and arms. Any season gloves will lend that aspect of drama and really tie your bridal look together. Whether you opt for crocheted shorties or long, sleek opera length, there are no rules anymore about what sort of gloves you have to wear with your gown. You can go with the classic white and ivory or jazz up your look with any length, color, texture, even pattern. Just like some brides are showing some pizazz wearing different color shoes with their gown, glove color is an option you have as well. Experiment, then go right ahead and be adventuresome!












Gowns and headpieces by Amy-Jo Tatum Bride /Photo credits: top photo by S1 Studio; Photos 1 &2 by Henley Photography; Photo 3 by Jim Vetter Photography

CELEBRATING THE A-LINE

Lirette Photography
The hourglass wasn’t Christian Dior’s only reinvention. His A-line hit big in 1955 and stayed with us. An A-line cut is a more modified form of hourglass, bringing with it refinement and understatement. Fitted through the bodice, the A-line can have a slight to moderate flair in the skirt. Dubbed by fashionistas as “The Deb Dress” it’s been one of the most popular silhouettes for the reason it flatters just about every figure type.

Variations of the A-line
Classic-Can be slightly flared to full, you see it everywhere; mostly with a strapless bodice in medium to heavy fibers. Below is a cotton version with a Sabrina neckline.  Stunning.



Princess-Fitted bodice flowing into a skirt that has two parallel vertical seams running up front and back; can have a slight to full flare in the skirt. Very flattering. Especially great for petites or any woman wanting to add height. Heavier brides benefit too from the vertical seams drawing the eye, up, up, up.



Modified-Header photos and below are modified versions of the A-Line.  Slightly flared, both keep within the framework of an hourglass silhouette . . . .



All gowns and headpieces by Amy-Jo Tatum Bride

PAPER DRESSES

More likely to be found in an exhibition at the Museum of Modern Art, I don't think you'll find these gems in your favorite designer's flagship store.  Believe me, this medley of paper dresses are indeed works of art that have my undivided attention.  Art to Wear exhibits can be truly fascinating; the spectrum of ideas you'll find will amaze and inspire you to be a little bold and get you thinking outside the box on your wedding day  The above work with the model flaunting layers and tiers of newsprint was photographed by Stephen M Loban


Paper or plastic?  We know what photographer Adri Krisnadi asked for.  This tour de force strapless and belted number out of brown paper shopping bags is pure innovation.



Buck Holzemer
Wardrobe stylist Jennifer Lynn of Anomalous Designs hand-created each and every one of these incredible newsprint dresses above and below. Her understanding of cutting edge fashion fused with her application and technical  skill of producing these works of art is amazing. 


Michael Rosen

VINTAGE SUNSET

I hope this board inspires a vintage feeling in all of you looking toward a Gatsbyesque or Hollywood style wedding.  The pale salmons and beiges suggest sepia tones evocative of the start of the last century when lace and intricate embroidery applications were more commonly used.  If you can find just one vintage item or accessory to work into your wedding day it will make a real difference sentimentally (especially if the item is passed down from a loved one) as well as adding panache to your look . . .

HOLLYWOOD BRIDES

Claudette Colbert as Ellie Andrews, Audrey Hepburn as Jo Stockton. No, they weren't real brides but the designers, writers and producers who created them certainly were. Hollywood designers and the actresses who wore their creations influenced the way we look at weddings and fashion today. All the gowns pictured here are works of art and stellar representatives of their times. What could be more 1930s than Robert Kalloch's creation 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 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.
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The Givenchy on Audrey Hepburn in Funny Face has become a favorite for brides of every decade. When clients bring in inspiration photos so I can get an idea of what they want in a gown, this photo is pulled out often. And sometimes it is not the exact same dress a bride wants so much as 'the look' it evokes, the epitome of pure, flawless design.

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Above is one of the purest, most traditional wedding designs out there (the other is princess Grace's--also by a Hollywood designer, Helen Rose). I'm glad I finally found this image of Julie Andrews in Dorothy Jeakins shantung wedding gown. It's from one of the most beautiful movies ever made, The Sound of Music. Raised in an abbey by cloistered nuns, when Maria marries Captain Von Trapp she marches down the aisle alone. This really touched me when I first saw this movie as a kid. So much so that when my own day came to meet my intended and take my vows, I too walked alone and gave myself away.
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The gown Elizabeth Taylor is wearing was standard for its time. Post war, the world celebrated lifts on fabric restrictions by using vast amounts of it in skirts. Bridal gowns were the ultimate show-off the hourglass shape vehicle. The MGM release of Father of the Bride coincided with Taylor's own real, life nuptials with hotel heir, Nicky Hilton. Both her own and fictional wedding gown was designed by Helen Rose.


Below right is Carrie Bradshaw's Ivory silk taffeta confection. It's actually one of the finale pieces from Vivienne Westwood's 2007 "Wake Up Cave Girl" Collection. Hand picked by Sex in the City stylist, Patricia Field, personally, I was surprised Sara Jessica didn't rate a custom designed gown for her role in the film. I mean heck! Check out Audrey Hepburn. Didn't she rate that one-of-a-kind-designed-to-fit-her-character Givenchy tulle wedding dress pictured above? The suit on the left would have been my choice . . . and . . .ultimately it was Carrie's as well.

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Anne Hathaway and Kate Hudson in Bridal Wars, 2009


There are so many 'must see' movies for brides who want to gather ideas. Some are golden oldies, others like Sex in the City are relatively new. All are romantic, all are incredibly inspiring . . . . Most below are out on disc/DVD or available through streaming. Watch your favorite and listen to the commentary if there is one--you'll learn so much.


Here are some of my favorites--not necessarily the movie so much as the designs . . .


It Happened One Night (1934)


Father of the Bride (1950)


Father of the Bride (remake 1991)


Panama Hattie (1942)


Design for Living (1933)


The Sound of Music (1965)


The Graduate (1967)


Penelope (1966)


Sex and the City (2008)

YELLOW ROSE

Yellow Rose just happens to be one of my fave head chic sites on Etsy.  Sharon creates a vintage-nature inspired collection of hats, fascinators and head pieces to top off your bridal look.  She loves finding authentic vintage laces and other rare accouterments for her projects at antique markets. A native of Ohio, she learned millinery studying under professional costume designers in Kentucky. Hat making quickly became Sharon's craft and passion as she launched the Yellow Rose label in 2010.  Right now Sharon is living in Germany with her husband which explains the Sound of Music styled landscapes gracing many of her photos.  Aside from the Etsy Shop, Yellow Rose also has a beautiful site showcasing a bit more, especially if you're into hats . . .


 

THE ART OF WEARING GLOVES

 


 If you're getting married this time of year or heading into the winter months, thank God for gloves.  They do help warm up hands and arms. Any season gloves will lend that aspect of drama and really tie your bridal look together. Whether you opt for crocheted shorties or long, sleek opera length, there are no rules anymore about what sort of gloves you have to wear with your gown. You can go with the classic white and ivory or jazz up your look with any length, color, texture, even pattern. Just like some brides are showing some pizazz wearing different color shoes with their gown, glove color is an option you have as well. Experiment, then go right ahead and be adventuresome!












Gowns and headpieces by Amy-Jo Tatum Bride /Photo credits: top photo by S1 Studio; Photos 1 &2 by Henley Photography; Photo 3 by Jim Vetter Photography

GETTING ABOARD: ALL ABOUT TRAINS AND BUSTLES . . .

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A gown with a train suggests formality; typically the longer the train, the more formal the gown. So what is a train exactly? A train is that extension in the back of the skirt that follows when you move. There are two types of trains: built-in and detachable. Built-ins are integrated in the actual skirt pattern when the dress is made. These are the kind that are pulled up and bustled after the ceremony. A detachable train is a separate component, not integrated in the skirt pattern.  Detachables are usually removed after the ceremony, although I’ve seen them bustled every so often when brides want to keep that bustled look going for the party. 





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Bustling defined is the gathering and tacking up of the train so that the bride can move around freely post ceremony. Once a gown is bustled it goes through a kind of metamorphosis as does the bride in it. There are two kinds of bustling techniques: overbustles and underbustles (French). Usually, bustling is secured with hooks and/or ribbons (narrow strips of grosgrain). Over bustling is the easiest and consists of picking up and tacking the skirt to the waist for chapel and cathedral lengths; or behind the knee for sweeps. Underbustling goes the other way—down and under, fastening to points on the under slip. Longer trains can take a combination of both over and under bustling all at once and the results can be stunning. Additional or custom bustling is done after the bodice fitting is completed. How many (more) bustle points you chose is up to you and the estimation of your alterations person. Keep in mind not every dress bustles well. Examples include ball gowns with skirts in lightweight layers like tulle or organza. The amount of layered skirts present problems. The bustling is done layer by layer which is time consuming and expensive, and you’d have to absolutely love the result to go through all that hassle. Also some gowns with sweep trains, godets or fishtails don’t bustle well. Overall, most dresses do bustle beautifully and are a joy to wear. A bustled train remains one of the most elegant and romantic elements of the wedding gown . . . .



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CAROLINA HERRERA TRUNK SHOW

Carolina Hererra's bridal gowns are perfection.  Always ahead of the curve and true to her own sense of style, for my money this designer is in the top three.  The good news is, brides living or visiting LA are invited for a preview of the New Carolina Herrera Bridal Collection.  Show up and you get 10% off your order.  The event starts October 27th and runs through the 29th.   To make an appointment call Caitlin Sleichter at 323-782-9090.  8441 Melrose Place, LA . . . .

TODAY YOU'LL FIND ME . . .

Today you'll find me over on Savvy Scoop gabbing all about Portobello.  My first glance at Portobello came about when one of my clients brought in a headpiece to top off her Valentine Day wedding dress. Since then I've been swooning over their newest head chic that you can see for yourself right here . .

THE CHANEL BRIDE

The great Mademoiselle Chanel spanned several eras of changing fashion. Her most notable signatures are close fitting cloche style hats, halters, separates, jerseys and strands of many different pearl necklaces all worn at once. Until her retirement in 1939, she was the probably the world's most influential designer. She made a comeback in the 1950s ushering in her most enduring contribution to fashion, the Chanel suit still popular today.
 I see the Chanel bride of today much like Mademoiselle herself. Classy and fabulous, sophisticated and quirky. Above all stylish. The bride above is in separates: a Chantilly lace halter paired up with a long shantung skirt with a sweep train. All her accessories are inspired by Chanel.
Hat, headpiece/veil and separates available through Amy-Jo Tatum Bride. 415.258.8204. Email:amyjotatum@gmail.com.

BRIDES OF THE GOLDEN LIGHT

 Ask any photographer and he/she will tell you, sunrise or sunset makes for the most dramatic and flattering light.  Sweet light or golden light, many couples choose to have those most intimate wedding portraits done just as the sun goes down, or, if they are having the pictures done prior to the wedding day--sun up.  These 'Golden Portraits'  are from various stylized shoots I've done with some of the most talented photographers in the biz.  Enjoy . . .

 Above and below: From the Vintage and Rustic Shoot by Stephanie Williams Photography.  These shots were taken in the golden light of late March . . . .


 First photo: From the Midsummer Bride Shoot by Dominic Colacchio.  Second photo from the Art Meets Fashion Shoot taken by Stuart Lirette in the golden light of early October . . .


Above and below from the Art Meets Fashion shoot, photos by John T Photography

SAMPLE SALE TUESDAY

see more images of Aurora

For those of you unfamiliar with Sample Tuesday/Thursday, here's the lowdown: From time to time I sell off some of the photographic samples. So what you ask, is a photographic sample? It is a mock up made up just for the photo shoot in materials close to but not yet ready for prime time such as the almost priceless silks in which they are custom ordered by clients. It can also be the original and yummy silk dress I make that is two or three seasons old. In any case your sample will be one-of-a-kind and handmade, have couture techniques like hand-picked zipper and hand-tacked linings no machinery can emmulate. Before I sell these gems rest assured they do go through proper refurbishing and cleaning. Fabric samples on request.



What could be more bridal than a cloud of white tulle and Chantilly lace? Add to that the lace is backed with a blue/gray lining. With peach accents it reminds me of a muted pastel sunset. The skirt is four layers of tulle and a separate slip of crinoline and tulle. Detailed touches include a row of buttons accenting the back and it is all pulled together with a blue and peach sash. Can be ordered with detachable pearl straps. The headpiece is coral-peachy handmade silk florals attached to a tulle bow.


 
 
 
Photos: Ryan Chua Photography
Dresses and Headpieces: Amy-Jo Tatum Bridal Couture
Makeup: Juliane Chai
Hair: Steph Tsai
Model: Dominique Ansari

WINTERESQUE

CREDITS
Photography by Rob Martel
Gowns and  Accessories by Amy-Jo Tatum Bride
Hair and Makeup by Shideh
Model: Natalie Angela
Venue: San Francisco Theological Seminary


Winter is almost here. Holiday and post New Year weddings can be incredibly festive and magical. Yes, the back drop of snow and raw climate can be challenging; working it you can create a haute chic look all your own.




Ever dreamed of looking like and keeping as warm as a Czarina? Covering your gown with a cape is ideal—they’re roomy and unlike close fitting coats, they won’t squish your dress. The cape here is white suede with marabou and faux fur trim with a cathedral train.  The hat and muff are made of faux Moulton lamb.  Velvet, cashmere, wool, heavy brocades all make lovely capes. If your gown is heavyweight fabric or has lots of volume (volume translates into warmth) you can even go for a shorter caplet.




Wraps and stoles are great for bare-armed brides. They may look skimpy but will keep you incredibly warm even if they are made out of faux fur. Add opera length gloves if you’re going sleeveless. Long gloves can be great substitutes for sleeves due to the insulation factor they provide. As for fur, for stoles, jackets and capes, faux is chic now. It’s also surprisingly warm too. Add a muff (maybe instead of a bouquet) and your hands stay toasty.



 There’s a reason for structured, heavy fabrics like the luxe peau de soie below: warmth and insulation from the cold. If expertly lined, thicker fabrics will keep the chill off.  This authentic vintage sixties bouffant has  Alencon lace appliques dappled over the bodice and skirt.  The satin pillbox hat with cathedral length veil was custom made to bring out the full Jackiesque look of this gown . . .