WHAT'S NEW IN THE GOWN GALLERY?

The 'Lucinda' Gown is everything vintage. When I first laid eyes on this Chantilly lace and crepe backed satin sitting side by side on the shelf,  it evoked images of vintage Hollywood and and Art Deco.  Once I sketched out what I envisioned I had a long, sleek skirt with a lace halter bodice and cummerbund.  The five pearl buttons down the front were added later.  Appliques of beaded Alencon lace accent the neckline and lace waist drape. The skirt has a wisp of sweep train in back.

I was flattered when my husband complimented me on designing this gown.  He's a very precise guy and lover of all things symmetrically beautiful.  I also think Lucinda has a particular, body-hugging sex appeal perfect for women who want to bring out that wedding day diva.

WHAT'S NEW IN THE GOWN GALLERY?

The 'Lucinda' Gown is everything vintage. When I first laid eyes on this Chantilly lace and crepe backed satin sitting side by side on the shelf,  it evoked images of vintage Hollywood and and Art Deco.  Once I sketched out what I envisioned I had a long, sleek skirt with a lace halter bodice and cummerbund.  The five pearl buttons down the front were added later.  Appliques of beaded Alencon lace accent the neckline and lace waist drape. The skirt has a wisp of sweep train in back.

I was flattered when my husband complimented me on designing this gown.  He's a very precise guy and lover of all things symmetrically beautiful.  I also think Lucinda has a particular, body-hugging sex appeal perfect for women who want to bring out that wedding day diva.

WHAT'S NEW IN THE GOWN GALLERY?

'Phaedra' is actually separates: a top and skirt offering you some options after the big day.  This gown was created out of many yards of tea-dyed cotton tulle hand pleated over appliques of Chantilly lace.  A row of precious white and gray stones act as buttons down the front of the bodice.  The skirt is silk chiffon with a tulle drape.  The back shows a strip of hook and eye closures--the kind used in sportswear, hinting something this delicate and diaphanous would be as awesome with jeans as the pearl and crystal jewelry above . . .

WHAT'S NEW IN THE GOWN GALLERY?

'Phaedra' is actually separates: a top and skirt offering you some options after the big day.  This gown was created out of many yards of tea-dyed cotton tulle hand pleated over appliques of Chantilly lace.  A row of precious white and gray stones act as buttons down the front of the bodice.  The skirt is silk chiffon with a tulle drape.  The back shows a strip of hook and eye closures--the kind used in sportswear, hinting something this delicate and diaphanous would be as awesome with jeans as the pearl and crystal jewelry above . . .

WHAT'S NEW IN THE GOWN GALLERY?

Would you wear wool on your wedding day? In summer? Meet 'Priscilla' the first wool crepe gown to make it into the collection. Whenever we think wool, winter wardrobes usually come to mind. Light weight wool crepes and jerseys are actually great fabrics thru spring and summer as long as the silhouettes lend themselves well to drapey fabrics and bare arms and back. And don’t worry, wool breathes well as long as it’s lined in lightweight fabric like China silk . Accessorized, ‘The Priscilla Gown’ goes great with last season’s Christian Loubotin’s peach floral sandals but any silver or gold delicate, strappy sandal will look awesome. I see the necklace and earrings worn as a pearl and white stone combo shown above.

The original inspiration for this gown came from the 1944 Noir Classic, Laura. Although Hollywood designer, Cashin’s gown for Gene Tierney was front loaded with intricate draping and gathers, my design above has a row of gentle pleating instead.

WHAT'S NEW IN THE GOWN GALLERY?

Would you wear wool on your wedding day? In summer? Meet 'Priscilla' the first wool crepe gown to make it into the collection. Whenever we think wool, winter wardrobes usually come to mind. Light weight wool crepes and jerseys are actually great fabrics thru spring and summer as long as the silhouettes lend themselves well to drapey fabrics and bare arms and back. And don’t worry, wool breathes well as long as it’s lined in lightweight fabric like China silk . Accessorized, ‘The Priscilla Gown’ goes great with last season’s Christian Loubotin’s peach floral sandals but any silver or gold delicate, strappy sandal will look awesome. I see the necklace and earrings worn as a pearl and white stone combo shown above.

The original inspiration for this gown came from the 1944 Noir Classic, Laura. Although Hollywood designer, Cashin’s gown for Gene Tierney was front loaded with intricate draping and gathers, my design above has a row of gentle pleating instead.

WHAT'S NEW IN THE GOWN GALLERY?

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.

If you want a fascinating read on 1950s bridal couture, visit Vintage Fashion

History, a site chock-a-block full of interesting info on the origins of hourglass silhouettes like these.

WHAT'S NEW IN THE GOWN GALLERY?

Tashiko! A silk dupion modified A-line. If you like embossed chiffon, you’ll love the treatment I gave it here. The sleeves look more like lace folding into a gathered sweetheart empire waist that ties in back creating a sweep train. The underskirt is layers of crin trimmed in yards of lace.

Photos by Smoot Photo/Hair by Gayle Parker
Inspiration for this dress came from two sources: the obi sashes on the backs of wedding kimonos and this 1805 portrait of Mlle. Riviere by Ingres, a copy of which hangs in my kitchen and I guess has been inspiring me a long time now. The regency look of the early 19th century is visible here but so is the Asian influence with the back sash that ties like an obi. Also, the chiffon is embossed with lilies and they always remind me of the Far East.

YOUR SILHOUETTE

Photo by Henley Photography +
Admit it, this cotton eyelet dress is about as hourglassy as you can get. Whether you go flared or straight up and down, the silhouette you choose is going to be the foundation of your look—the first impression you create once you make your entrance, dance your first dance, cut the cake. The right silhouette creates a positive visual chemistry. Something like a light turned on, illuminating the unique beauty of your female form. There are three basic silhouettes: the sheath, the ball gown and A-line. Within each of these big three derive a few variations deserving closer examination. Read this article . .

MORE ABOUT CUSTOM DESIGN

There are FAQs I get all the time. My email box is proof the two most frequently asked are: 1.) How long does it take to create a custom designed gown? and 2.) How much does it cost?
OH HOW LONG OH LONG MUST I WAIT?
We designers put in oodles of hours and a high level of craftsmanship when it comes to creating one-of-a-kind gowns. Working with fragile, white fabric and delicate laces is an art form. Add to that keeping those fragile laces intact and white gowns looking fresh through fittings. Figure a gown hand-crafted by a designer usually takes 4-6 months to complete from a listing of your measurements. The greatest thing about custom design is that you'll have more of a one-on-one collaboration with the designer and input on any choices of fabric, silhouette and overall style.
WILL MY CUSTOM DESIGNED GOWN COST ME THE DOWN PAYMENT ON A HOUSE?
Chances are, no, unless you order Lady Di's silk taffeta gown with the 25 foot train and layers of uber-pouf. Most custom designs run neck and neck with the prices you'll find in better salons. Custom designers usually work all the materials and labor into the price of the garment. Prices can range from, $1000.00 for something simple and unadorned up to $10,000.00 for the works: full trains, petticoats, underskirts, bustles, intricate beading, etc. Medium price range for a custom wedding gown as of this writing writing would be around $2500.00-5000.00.

Overall, brides are happy with custom design because of the leeway it offers. Where and in whose bridal collection can you find cotton wedding dresses these days? Or suits? Or two-piece dresses? Or convertable gowns? Custom design is optimal for the bride who wants some individual touch not offered in salons or boutiques.

THE PROCESS
The designer/client relationship is one that's very special so enter with care. Just like any relationship you must be in simpatico. In simpatico first with the design vision and then with your working relationship. You can help by bringing photos, magazine clippings, sketches or swatches of fabric to the initial consultation. All your ideas are discussed with the designer running a few ideas back to you. Choices and cost of materials, fabrics and a few other details are usually explored. If the designer has a small sample collection, this is usually when you can begin trying gowns on to see what the fabrics are going to look and feel like with you in them. This is the time too to look over how well the samples are made. Don’t worry about whether or not you know haute couture techniques here—just pull up a hem or look at the inside of one of the garments and you’ll know if its cleanly made and as beautiful on the inside as out.

THE MUSLIN
Eventually, a gown is in the making. After a final sketch is approved, a written estimate follows, complete with fabric swatches and your measurements are finally taken. For every gown order, a paper pattern is made. Think of the paper pattern as a blueprint, a record with all your dimensions on it. From this, most designers (some dressmakers too) work out a muslin. A muslin is an actual cotton mock-up and ‘living pattern’ of the gown design, fitted exactly to your body. Now, think of the muslin as the foundation work—laying all the necessary groundwork upon which your dress will be built. This is where most of the fine-tuning is done to get the perfect fit before one cut or stitch goes into the true gown fabric(s).
After your muslin fittings (there may be two of them), the muslin is unstitched and laid out on the actual fabric and the gown is made up. Since most of the fitting is worked out on the muslin, second and third fittings usually follow up with finishing touches on the gown like, final hemline, closures, remaining design details, etc. Be prepared for more than three fittings though. A gown made from the ground up is a work in progress and each step along the way is painstakingly taken, checked and rechecked. Keep in mind you want your gown delivered at least a month before your wedding. Yes. You need to synchronize your calendars on this one. You want to be able to relax and deal with all those other last minute details involved in your wedding, not still fussing around over hemlines.

If you want to view some awesome samples of custom design, visit my new pages at http://amyjotatum.googlepages.com

UP AND DOWN: ALL ABOUT TRAINS AND BUSTLES

Back in the Middle Ages when fabric was in short supply, the length of one’s train conveyed a person’s wealth and standing. For Victorians, bustling the train was considered an art form with all kind of intricate floral and lace treatments. Today a gown with a train still suggests formality; typically the longer the train, the more formal the wedding. So what is a train exactly? A train is that extension in the back of the skirt that follows when you move. Read more

WHAT'S NEW IN THE GOWN GALLERY?

Imagine the formality of an elegant silhouette with all the ease of informal cotton. Here's my 'Daisy' dress in a pure white eyelet. I love this fabric. Every bride who has tried it on says its so comfortable. Audrey Hepburn as Sabrina was my original inspiration for this design. The bateau neckline pictured above was actually renamed after this character from the mid-1950s movie. The rest of the dress is a classic A-line with a to-the-floor skirt held out by layers of petticoat. I topped it off with one of my shorter veils reminiscent of 50s-60s brides.