The Return of the Blushing Bride
Brides’ love affair with “show-and tell” gowns that bare shoulders, bosoms and backs may be cooling down. Some of
the freshest new looks – demure but stilldramatic – leave abit more to the imagination.
BY NOLA SARKISIAN-MILLER
Strapless gowns still may rule the wedding aisle, but bridal silhouettes that are less baring with the help of tulle jackets, cap sleeves and higher necklines are beginning to elbow aside the popular, revealing look.
The whiff of bridal modesty is wafting over from ready-to-wear runways, where for the past two years designers have flaunted women’s softer side, with dresses and sheaths and trapeze styles, and shunned overt sexiness, a domain popularized by bubblegum pop princesses, such as Britney Spears. Designers such as Marc Jacobs introduced the fashion cognoscenti to the wonders of volume in 2005. Vera Wang’s fall 2006 styles embraced the bubble skirt in soft folds of organza and chiffon. And, for spring 2007, Alexander McQueen trumpeted Edwardian formality with high collars and corseted dresses, and English designer Paul Smith looked to his Victorian ancestors for inspiration in the form of highwaisted lace dresses and demure satin slips.
“There’s a fashion shake-up happening,” says Renee Strauss, owner of Renee Strauss for the Bride, Beverly Hills, whose gowns have graced actresses on “Reba,”
“7th Heaven,” “What About Brian?” and “The West Wing.”
“The fashion influence of ready-to-wear is the new muse for the bridal market that once was about bare looks. Now, we’re seeing a resurgence of vintage with
more lace treatments and not-so tight-fitting dresses. It’s not about trendy but, rather, classic elegance.”
The ubiquity of strapless dresses has created a sense of sartorial ennui with brides-to-be that want their weddings and photo albums to reflect their taste and quest for individuality, say retailers.
“Strapless dresses have been around for more than 10 years,” says Mara Urshel, president of New York based Kleinfeld Bridal, a bridal emporium that’s served
the wedding community for 65 years. “There’s a tremendous need for other dresses – halters, off-the shoulder looks, spaghetti straps and those with all kinds
of coverage.”
Urshel cites the success of Monique Lhuillier’s couture dresses paired with dainty jackets. The Los Angeles-based bridal designer, known for her glamorous satin sashes and other accessory touches, offers shrugs in linen lace, tulle or with embroidery, big kimono boleros and highneck jackets with long lace sleeves.
“Jackets have really picked up in the last three years,” says Lori Weil, sales director for Monique Lhuillier, which also sells to Neiman Marcus, Saks Fifth Avenue,
Nordstrom and other specialty stores, and operates salons in Beverly Hills and Edina, Minn. “Just like belts, jackets can really personalize a dress and create a change of mood from the ceremony to the reception.”
A number of designers also are slipping on the jacket accessory in their collections. At Alfred Angelo, two of the top-selling gowns for spring 2007 are those accompanied by long-sleeved jackets, newly offered in transparent stretch net or organza. Augusta Jones launched a collection of jackets for spring encompassing shortsleeve, cap-sleeve and long-sleeve looks in tulle and organza with beading.
“Jackets offer such variety,” says Miki Huang, product manager for Hanover Park, Ill.-based Jasmine Enterprises, which offers two lace jackets meant to be worn inside or outside of the gown. “After the big day, they can still wear it again with jeans and skirts. Brides like the idea of practicality.”
Directions also are changing as necklines creep higher and sleeve lengths drift below the shoulder, invoking Victorian regality, a motif adopted by Paris-trained
designer, Reem Acra, who opened her show last March with a high-collared, long-sleeved romantic lace gown.
The formality of the look could signal a new mood for brides, say industry observers.
“There’s much more reserve culturally,” says Theresa DiMasi, editor in chief of Brides.com, the online companion to Brides, Modern Bride and Elegant Bride magazines.
“Bridal fashions are referencing 18th-century fashion, and we’ll be seeing more modest touches. Gowns today are about romance, lace and feminine ruffles.”
Longer sleeves and higher collars are a new addition to the couture bridal gowns from Milan-based Atelier Aimee, which recently opened its first New York showroom on Park Avenue. Monique Lhuillier offers alternative necklines, such as thick-strap scoop neck dresses and lace sheaths with flutter v-necks, which sell consistently, says Weil. Cap sleeves are another option, which are strongly requested at Augusta Jones, along with its detachable strap dresses.
“We added more detachable straps for fall and dresses with straps now account for 40 percent of our collection, compared to 10 percent a couple years ago,” says Saundra Farr, national sales director of Augusta Jones.
The shift in design direction doesn’t signal the demise of the strapless gown, which can flatter many figures and intimidate others.
“Strapless is a staple in bridal and isn’t going anywhere,” says Michael McDonald, owner of Michael of Boston Inc. “Sometimes it’s not right for a bride’s figure type and sometimes it’s a religious issue.”
Bridal retailers, indeed, have long catered to customers seeking gowns with more coverage required with “templeready” collections geared for Mormon brides or those participating in certain religious services, such as those at temples.
Mon Amie, a bridal salon in Costa Mesa, Calif., which carries gowns by Anne Barge, Justina McCaffrey and Pronovias, lists a “Temple-Ready” link on its site.
More designers also have begun courting this customer. Recently, Jasmine Bridal launched a temple-ready program where customers can choose from select styles, sleeve lengths and necklines. Three seasons ago, Bellissima Couture, a Wilsonville Ore.-based designer known for its imported fabrics, unveiled its Bellissima Modestia line, featuring 16 gowns with a demure aesthetic. A-lined gowns with scoop necks and cap sleeves and satin and tulle basque-waist ball gowns are among the examples.
Bellissima president Byron Perry says the gowns cater to the Mormon market, which requires brides to wear a garment under their gowns.
“There’s a specific prototype that’s needed,” says Perry, who began the division at the request of retailers. “There’s been a void in this market and the options
available tend to be plain vanilla. We’re trying to bring styling that’s most current, with bustling, ruffles and rouching.”
If necessary, some brides spring for two dresses to accommodate the settings of their nuptials. One customer of Junko Yoshioka, the designer of Junko Yoshioka
for Bonaparte NY, chose a lace dress with a dramatic train for her Mexican ceremony and incorporated some of its lace into a clean, strapless gown she wore for a
simple ceremony in New York. The fabric grafting was as much a sentimental gesture as if was functional.
“I’ve now made it into something she will pass on to her children, [something] that would be timeless and appropriate for the church,” Yoshioka says.
— CTW Features
