Showing posts with label vintage wedding. Show all posts
Showing posts with label vintage wedding. Show all posts
CREDITS
Photography: John Truong and Stuart Lirette
Gowns: Amy-Jo Tatum Bridal Couture
Hair: Kathie Rothkop
Makeup: Juliane Chai
Models: Jen Lam and Lauren Purcell
.jpg)
Your wedding destination could be as close as the park down the street or half way across the world. Wherever you pick for your backdrop, finding the gown to compliment is part of the fun. In the header photos a silk chiffon and Chantilly lace dress with a full skirt is the perfect match for a villa on the sea. Above a fitted silk taffeta sheath and organza train pair up for a country-inspired wedding . . .
Above: A vintage bouffant goes nicely with the Italliante style setting. Below: A pasture on a farm. The rustic setting works with this silk and lace boho gown.
Classic Grace Kelly chic goes just about anywhere including this vineyard-like setting
Stuart Lirette
A vintage gown covered in antique lace works with the rustic, country setting
Costume-inspired gowns are always lovely. This one conjours images of Natasha from War and Peace. Silk chiffon and Chantilly lace with a brocade belt . . . .
More costume-inspired chic. Dupionii and lace is complimented with some exqusite tropical hairdressing by Kathie Rothkop.
Dress: Amy Jo Tatum Bridal
Hair pieces + veils: Batcakes Couture
Make-up: Teena Hoffstetter
Hair: Kyle Rich
Location: San Juan Capistrano, California
I want to talk a little about my 'Dioresque Collection'. The gorgeous Stephanie Williams photo series, Vintage + Rustic feature about it has been all over the net lately. Since the debut of these images you all have expressed interest in where I get my inspirations. Hurell and Dior were my icons so it makes sense most of my work is inspired by vintage looks. I'm especially fond of old Hollywood and 1950s Paris and always working on ways to bring these styles into a modern arena for contemporary brides.
I've always had a thing about dresses with tons of volume just above the ankles. Most in the 'Dioresque' collection follow this length which can easily go formal or semi-formal.
'Dioresque' is a capsule collection of 50s hourglass silhouettes. It isn't quite finished as there are four more dresses similar to these coming off the work table within the next few months. I am making a few changes in production. Next season I plan on replacing most of the crinoline underskirts with 100% cotton organdy.
Another fabric I'm incorporating into the collection is bamboo cotton. It has just the right under structure to make a great lining and feel good against the skin. Plus, little beknownst to most, bamboo has anti-bacterial properties which contribute to controlling body odors.
What could be more Paris 1950s than a picture hat swathed in tulle? When Stephanie found this piece in my collection she asked specifically for it to add as a piece in the shoot. Amber sure knows how to work this hat and gloved lady-like look.
Special thanks to all who made this shoot possible and with such skill to bring out the vintage looks reminiscent of an era we all love so much . . . .
I instantly fell in love with this embroidered silk organza before it ever took the form of the above 1950s silhouette. Recently to slide off the work table, 'April' is the newest in my 'Dioresque Collection'--layers and yards of skirt under a tiny, cinched waist.
Somewhere between semi-formal and high fashion, I find the just-above-the-ankle Ballerina length so flattering--especially when worn with Barbie-doll heels or ankle-straps a la 1950s . .
The stunning photo was taken in San Juan Capistrano, California by the very talented wedding and fashion photographer, Stephanie Williams, who has a name for making her brides look like models and models look like real brides.
Welcome Spring in with the 'Sophia' Gown. Best worn against the back drop of greenery and blooming flowers, 'Sophia' is an A-line cut, wrapped in ivory gathered tulle from bodice to hem. Handmade pink organza rosettes secured with pink quartz beads are dappled all over the dress and matching shawl.
'Sophia' was conceived and designed with the outdoor and/or more informal wedding in mind. Accessorized here with a trio of pink roses as head piece, 'Sophia' would look just as stunning paired up with short or long veil. A picture hat wrapped in tulle is another option for this gown that would set it into high fashion/romantic dressing . . .
To order or ask questions about 'Sophia' you can either call or email me. I'm in the San Francisco Bay Area.415.258.8204
Model: Natalie Angela
Lace and cotton Georgette. Combined they make a luscious combination. The 'Mira' dress is part of the Dioresque series, a capsule collection of dresses redolent of the 1950s era. A halter top in Chantilly lace sits atop a full gathered skirt.
This dress could easily go semi-formal or less formal depending on accessories. A fingertip veil paired up with gloves would put it into the former category while fascinators, hats and cage veils the latter. Here, the model is going somewhere in-between and looks like she might be opting for a restaurant or small garden wedding. If you want to see more gowns like this check out my site http://www.amyjotatum.com/. Also, if you want to place an order or simply talk about this gown call me 415.258.8204. I'm in the San Francisco Bay Area.
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.
Posts
