Showing posts with label amy jo tatum bridal couture. Show all posts
Showing posts with label amy jo tatum bridal couture. Show all posts
Stephanie WilliamsIf there is such a thing as visual poetry it is in these images. All are from a recent photo shoot I had with Orange County wedding photographer Stephanie Williams. We shot five of my gowns in various locations around San Juan Capistrano, California--including the mission. While I'm seeing more 'real wedding albums' with this sort of editorial feel, for me Stephanie's work is the quintessential. READ AND SEE MORE IMAGES . . . .
Part of the White Lace and Silk Series, CIARA is one of the most fem things in the collection . . .A little bit Belle Epoque, a little bit 1940s, ivory silk dupioni is the perfect fabric for this A-line gown with handroled floral asymmetrical shoulder treatment
Bunted skirt with Chantilly lace border petticoat . . . Gown and Point d'espirit headpiece available through custom order Amy-Jo Tatum Bridal
Bunted skirt with Chantilly lace border petticoat . . . Gown and Point d'espirit headpiece available through custom order Amy-Jo Tatum Bridal
To see more images of CIARA go to White Lace and Silk Collection
When it comes to bridal wear, silks rule. Made from the cocoons of silkworms, around 2500 B.C. the Chinese discovered and developed the process of weaving it into fabric. China is still the largest producer and exporter of 80% of the world’s silks. Most silk weaves are luxe, opulent and suggest a certain formality ideal for the bridal gown. Tightly woven silks like duchesse satin have a luster and are ideal for structured silhouettes, whereas loosely woven silks like charmeuse and crepe lend themselves to drapery. Choosing the right silk depends on the style of your gown in addition to time of day of day and year your wedding takes place.
sourceSILK WEAVES
Brocade-Pictured below. Heavyweight fabric used in structured silhouettes. The elaborate patterns of this fabric are created by mixing muted and glossy yarns in matching (sometimes contrasting) colors. Most bridal gowns made out of brocade have a surface design of florals though I once saw a gown with some interesting geometric patterns. Brocade molds perfectly in sheath and A-line silhouettes. A fall/winter fabric, brocade is an excellent option for bridal suits.
Brocade-Pictured below. Heavyweight fabric used in structured silhouettes. The elaborate patterns of this fabric are created by mixing muted and glossy yarns in matching (sometimes contrasting) colors. Most bridal gowns made out of brocade have a surface design of florals though I once saw a gown with some interesting geometric patterns. Brocade molds perfectly in sheath and A-line silhouettes. A fall/winter fabric, brocade is an excellent option for bridal suits.
Photo by Ron Greystar
Charmeuse (aka crepe-backed satin)-Lightest weight of all the satins. This fabric has a glossy finish that clings and drapes the body beautifully. No other fabric evokes the image of the white, bias-cut evening gown quite like charmeuse. Works best in evening gown and slip dress styles.
Chiffon-Lightweight and transparent, the delicacy of this fabric makes it best for billowing sleeves, cowl draped necklines, ruffles, ruched bodices and long, airy trains. See-through dresses worn over slips can be made of chiffon. Full skirts in chiffon are ethereal and can be layered. Be careful if you’re planning on dressing your bridesmaids in full skirts of pastel chiffon. Unless you have a stylistic eye they could come off like they’re auditioning for The Lawrence Welk Show.
Crepe (aka crepe de chine)-Lightweight and drapey, the crinkled surface is achieved by a hard-twisted yarn process. To get a sense of what crepe is like, look at the subjects of any Maxfield Parish painting. Though it’s available in wool, cotton and rayon, silk reigns the favorite due to its incredible swathe and drape effect. Like charmeuse, crepe is another 1930s Hollywood glam fabric and a natural for the bias cut evening gown. Can likewise look great in a shirtwaist and chemise style.
Damask-Lighter weight than brocade, damask is a jacquard fabric with woven designs thorough out. Best for structured silhouettes.
Duchesse Satin-Medium weight satin with a glossy finish. A staple of traditional bridal wear, it has versatility whereas it works for strait as well as full silhouettes.
Dupioni-Made from thick uneven yarns rolled from double cocoons. Has irregular slubbing and lustrous texture. Ideal for fuller silhouettes yet I have used this continually in sheath and modified A-lines with excellent results.
Faille-Medium to heavy weight, cross-ribbed fabric with a tight weave. Works best in structured silhouettes like the one pictured above.
Gauze-Lightest weight transparent fabric. Since it’s lighter than chiffon it has an airy quality perfect for light trains, veils and scarves.
Georgette-Pictured below. Lightweight and sheer fabric made from twisted yarns. Somewhere between chiffon and crepe, it has a crinkly appearance surface.
Chiffon-Lightweight and transparent, the delicacy of this fabric makes it best for billowing sleeves, cowl draped necklines, ruffles, ruched bodices and long, airy trains. See-through dresses worn over slips can be made of chiffon. Full skirts in chiffon are ethereal and can be layered. Be careful if you’re planning on dressing your bridesmaids in full skirts of pastel chiffon. Unless you have a stylistic eye they could come off like they’re auditioning for The Lawrence Welk Show.
Crepe (aka crepe de chine)-Lightweight and drapey, the crinkled surface is achieved by a hard-twisted yarn process. To get a sense of what crepe is like, look at the subjects of any Maxfield Parish painting. Though it’s available in wool, cotton and rayon, silk reigns the favorite due to its incredible swathe and drape effect. Like charmeuse, crepe is another 1930s Hollywood glam fabric and a natural for the bias cut evening gown. Can likewise look great in a shirtwaist and chemise style.
Damask-Lighter weight than brocade, damask is a jacquard fabric with woven designs thorough out. Best for structured silhouettes.
Duchesse Satin-Medium weight satin with a glossy finish. A staple of traditional bridal wear, it has versatility whereas it works for strait as well as full silhouettes.
Dupioni-Made from thick uneven yarns rolled from double cocoons. Has irregular slubbing and lustrous texture. Ideal for fuller silhouettes yet I have used this continually in sheath and modified A-lines with excellent results.
Faille-Medium to heavy weight, cross-ribbed fabric with a tight weave. Works best in structured silhouettes like the one pictured above.
Gauze-Lightest weight transparent fabric. Since it’s lighter than chiffon it has an airy quality perfect for light trains, veils and scarves.
Georgette-Pictured below. Lightweight and sheer fabric made from twisted yarns. Somewhere between chiffon and crepe, it has a crinkly appearance surface.
Amy-Jo Tatum Bridal
The gown above was painstakingly made of silk gauze, a fabric ordinarily so delicate it can only be used for trains and drapes as on the gown below.
Henley Photography Georgette-Lightweight and sheer fabric made from twisted yarns. Somewhere between chiffon and crepe, it has a crinkly appearance surface.
Marquisette-Very light mesh fabric. Drapes like chiffon and georgette. A very hard fabric to find.
Mikado-Medium weight twill weave with beautiful luster. Ideal for both A-lines and full skirts. Used by more and more designers in recent years, brides love the surface sheen of this fabric..
Moire-A treatment of watermarking given to fabric, leaving an undulating, watery finish. Most moiré is either faille or taffeta.
Organza-Light, springy and transparent fabric. Once considered suitable only for summer, organza is now year-round and widely used in gowns requiring full skirts, A-lines, trains, veils, drapes and overlays.
Peau de Soie-Pictured below. Heavier-weight satin with dull finish. Structures well in either straight or full silhouettes. Ideal for tailored gowns and suits.
Marquisette-Very light mesh fabric. Drapes like chiffon and georgette. A very hard fabric to find.
Mikado-Medium weight twill weave with beautiful luster. Ideal for both A-lines and full skirts. Used by more and more designers in recent years, brides love the surface sheen of this fabric..
Moire-A treatment of watermarking given to fabric, leaving an undulating, watery finish. Most moiré is either faille or taffeta.
Organza-Light, springy and transparent fabric. Once considered suitable only for summer, organza is now year-round and widely used in gowns requiring full skirts, A-lines, trains, veils, drapes and overlays.
Peau de Soie-Pictured below. Heavier-weight satin with dull finish. Structures well in either straight or full silhouettes. Ideal for tailored gowns and suits.
Giuseppe PapiniPongee-Raw silk with a wild, natural feel. Typically comes in a natural tan shade. Once standard for men’s suit lining, pongee is the ideal lining for gown bodices wherever inner structure is needed. Though pongee can be the perfect lining choice, it shouldn’t be overlooked for shirtwaists, chemise styles and relaxed A-lines like the trapeze. Good option for the wedding party, especially the little ones.
Satin-faced Organza-Another trendy fabric, it has the spring of regular organza and the luster of a satiny finish. Ideal for full A-line skirts.
Shantung-Rough, plain weave with irregular slubbing. Another ideal lining fabric depending on the weight. Silk as well as synthetic versions of shantung are often used for attendants.
Taffeta- Stiff, crisp, lightweight cross-rib weave. Taffeta can have either a slight luster or muted finish. It can be shaped, adding volume without bulk and weight, making it an ideal choice for A-lines and ball gowns. Nice in a sheath silhouette providing it has some kind train preferably of the same fabric with some degree of fullness.
Tulle-Pictured below. Fine mesh netting with hexagonal pattern that comes in silk or nylon. Tulle is standard material for bridal veils. Also used in bouffant skirts like the one pictured below, proffering that ballerina look Vera Wang popularized a few years back. While the big tulle skirt is classic, edgier versions of late suggest special effects like draping, rouching and pick-up treatments over more modified skirt silhouettes. Not to be overlooked for trains done in layers.
Ron Greystar PhotographyGowns by Amy-Jo Tatum
Henley Photography
Henley PhotographyVelvet- Heavy-weight, napped fabric. Perfect for the winter bridal suit. The cut velvet pictured above works well in any season.
Meet Fiona! This is an adaption of my evening gown silhouette clients love so much. Incredibly light and airy, it's made out of silk chiffon and lined in china silk (feels sumptuous on). The train is a diaphanous cloud of silk gauze dappled with tiny hand rolled organza florals.
Ordering this gown is a cinch. It can be found on my site, Amy-Jo Tatum Bridal Couture or Etsy. Best to call me 415.258.8204. I'm in The San Francisco Bay Area. I'll send out a good sized swatch of this fabric and linings. . . .
Alot of head chic. I'm incorporating more creative touches via hats and headpieces. Yes, I still do veils--all kinds from long cathedral styles to little net poufs and birdcages. The hat pictured above swathed in tulle is modeled after a combo of 20s Gatsby and 50s Paris Vogue (a la Irving Penn).This headband/tie with a rose accent is perfect for vintage frocks reflective of 1920s-50s.
Above is a silk dupion hand-rolled floral headpiece with net pouf, custom matched to the gown and fabric. With made to order gowns you can get an entire head to toe look on your wedding.If you want to talk about a hat, veil or headpiece, try calling me 415.258.8204 (I'm in the San Francisco Bay Area) or email me amyjotatum@gmail.com. More hats and veils can be seen on my website http://www.amyjotatum.com/
under Head Chic.
Here's that versatile and modified A-line every designer should have at least one of in a collection. Meet ONDINE in luxe dupioni silk, the newest edition to The White Lace and Silk Series.
This is the dress that can be pared up or down depending on what accessories are worn . . . Here the skirt is hiked up to show off the meringue on the petticoat--- a Chantilly lace border.
Want to talk to me about your ideas on this gown? You can order it with or without modifications through Amy-Jo Tatum Bridal
contact amyjotatum@gmail.com
415.258.8204
Check out the new chic from my 'Dioresque' series, a capsule collection of 1950s-inspired dresses. 'Marisol' is the first off the work table. Inspiration for this dress along with a few other gems I'm working on began when my girlfriends all chipped in and got me about 16 yards of cotton Georgette for my birthday. Yes, you heard that right, cotton Georgette. With this, I was able to make 4 samples with cinched bodices atop oodles of skirt and petticoats.
Of course the cotton Georgette was a limited run and quickly consumed by my fervent sample making. However, I tracked down some practically identical linen Georgette. Also the linen is eco-chic. What I love about these tea-length dresses is they dress up well with accessories. We tried both hats and veils, gloves and no gloves; large and small florals, every type from carried-in-your-arms-like-a-newborn bouquets as well as those small nosegay arrangements. Just about everything works with this dress. Personally, I love the 'New Look' wide-brimmed hat swathed in tulle. These photos are already up on my website and I've had so many comments, about this hat in particular.
A little 1950s background here on bridal chic. Back then it was trendy to wear sheer dresses made out of organza or Georgette over an under bodice. Liz Taylor's dress by Helen Rose for her role in Father of the Bride is a good example of the style and one widely copied by stores and manufacturers of the time. So is the pattern below.
A little 1950s background here on bridal chic. Back then it was trendy to wear sheer dresses made out of organza or Georgette over an under bodice. Liz Taylor's dress by Helen Rose for her role in Father of the Bride is a good example of the style and one widely copied by stores and manufacturers of the time. So is the pattern below.
History, a site chock-a-block full of interesting info on the origins of hourglass silhouettes like these.
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