Looks like someone is back in the spotlight; none other than Princess Deena Abdulaziz with a new haircut (Did anyone notice her haircut? It is so Edie Sedgwick meets Audrey Hepburn) and to die for Haider Ackerman pieces. She first captured our attention back in 2009 when the word got out that Christian Louboutin named a shoe after her and now she is back hitting the pavement for New York Fashion Week and blending seamlessly into the crowd. it is quite difficult to spot someone in the fashion scene who isn’t “trying too hard” especially with everyone stepping in acclaiming to be a “Fashionista” but Deena is far from that. She fits in so naturally.
The moment the groom unveils his bride, a symbol of the oneness the bride and groom share when they are finally married.. she stands there before him veiled and he walks towards her to lift the veil off her face. This is truly one of our favorite moments of a wedding; so beautiful, so magical, and so very poetic.
Today, we’ll be featuring not only beautiful wedding veils we’ve come across but also exquisite memorable ones we’ve seen a while back. A wedding veil can vary widely in style, depending on the dress, type of wedding, and preference of the bride. We love all types of veils, the long, the short, the simple sheer veil, the embroidered ones, the lacey ones incorporated with themes from the Gardens of Aquitaine. We love them in soft creams, we love them in dark, warmer tones (remember Carolina Herrera’s 2010 bridal collection? breathtaking). As long as it compliments the dress and the wedding theme, there is no harm in experimenting.
We have a feeling we’ll be seeing a lot of 1930’s inspired wedding gowns and veils in the upcoming wedding season.
This goes out to all beautiful brides-to-be out there, choose your veils wisely!
Known for their roles in Downton Abbey as members of the aristocratic Crawley family, Michelle Dockery (Lady Mary Crawley) and Elizabeth McGovern (Cora Crawley, Countess of Grantham) take part in an exclusive photo shoot by Bruce Weber for Vogue Germany January 2013.
Michelle Dockery appears in a stunning intricately beaded black gown holding a gorgeous veil. Effortless grace.
Both characters were undoubtedly beautifully shot.
We’ve been looking through the Pre-Fall collections and McQueen’s was absolutely a show-stopper. Reading about the thought process and inspiration behind the collection made it all the more intruiging. “This collection called on the motifs of high and low church, papal robes, clerical vestments and puritanical Amish dress.”
The piece with the cape (first image) definitely stands out not only because it bears a strong reference to the concept of the collection but is formally fascinating too. We also particularly enjoyed the intricate details on velvet and the jacquard stained-glass window patterns that featured on it. And the long pendants, just the perfect detail to finish of the looks. Bravo, Sarah Burton!
A few days ago we came across this piece, Cacharel and the city, published in The National back in December 2012 on a fashion shoot that took place in Abu Dhabi in 1974 by Jack Burlot. It is a great documentation of not only those lovely Cacharel dresses but also a beautiful record of what were once landmarks in the capital and in a broader sense, a portrayal of life back in the 70’s.
Context of the shoot narrated in the few lines below (source: The National)
Burlot recalls that he met a woman, possibly named Cathy, who was staying at his hotel with a group from Cacharel, the French fashion label that made its mark on the 70s with flowing bohemian dresses and colourful floral Liberty fabrics. “She was coming back from another place, I don’t remember where,” Burlot says. He had the idea of taking her out on an impromptu fashion shoot in the local surroundings. “At this time it was a little bit difficult to do this sort of thing,” he says. Difficult, but not impossible. Burlot’s temporary press card from the Ministry of Information, dated November 28-December 8, 1974, reads “kindly extend all facilities to the Bearer.”
They managed to shoot among fishermen at the port and smiling onlookers at Qasr Al Hosn, the fortified palace that at the time was being used for government offices and was to be renovated two years later. “People were surprised but really nice with us,” Burlot says. “I asked them to be in the photographs. It was very strange for them … but they played the game.”
Images courtesy of The National http://www.thenational.ae/news/uae-news/heritage/in-pictures-cacharel-abu-dhabi-1974-fashion-shoot