On Gossamer Wings

Though the sugar plum faeries are dancing their way out of our heads, they seem to have left their wardrobe behind on bridal couture runways around the country.  In hope that weddings this season may have a hint of whimsy, misfit faeries have spirited away the heavy duchess satin ball gowns that floated into many a serious social affair last season, and most seasons before it.  What they have left behind are vestments draped with graceful opulence fit for any girl who ponders what it would be like to be Titania for a day.

 

Just in time for a midsummer night’s wedding, Junko Yoshioka has allowed herself to be swept away by faerie-like frivolity for Bonaparte-NY’s bridal runways.  Parting ways with the architectural styles of her past (at least for one season), Junko has lost herself in a dream of French lace, organza, and chiffon.

 

Her Giselle is a mesmerizing crisscross of strips of fine lace that culminate in a Charmeuse section at the hips.  From the dainty cap sleeves to the feminine silhouette, this gown is fit for the most sophisticated of faerie queens. 

 

As though caught in some faerie reverie, Junko has again been inspired by the whimsy of nature when designing her Anemone gown.  This strapless piece of art is formed of hand-dyed silk organza ribbons that slowly change in color from ivory to white.  These strands gracefully flow from the back of the gown as the serpentine strands of a sea anemone would as it reaches up to the light from the ocean floor.  It would no doubt please any Lady of the Lake. 

 

Queen Titania could bewitch her Oberon in Junko’s stately empire gown of the finest silk chiffon.  This simple silhouette is fit for a faerie queen as it is bedazzled with finely beaded straps and bust line. 

 

Toronto’s Adele Wechsler has been the queen of ethereal-chic for some time, but her 2006 collection would have even the most traditional of brides walking down the isle to Enya. 

 

Pieces of a young girl’s ribbon here, a garden rose there, a mischievous faerie must have lent Ms. Wechsler the inspiration for her gown Kesha.  Its plunging neckline is delicately formed of fine silk organza that is then corseted in with champagne ribbons at the waist.  These ribbons come to a dramatic conclusion in the back of the gown where robin’s egg and blush ribbons cascade down the bride’s back and are fastened with an organza flower to add a touch of fancy.  As though tied by the hands of some little sprite, Kesha’s skirt is gathered up at intervals around the gown and held fast with hidden, two-tone bows.  If this gown is donned at the wedding, it will be perfectly understandable as to why the bride glided down the aisle to “Orinoco Flow”.

 

 

Adele Wechsler’s Andrine comes from equally enchanted beginnings as Kesha.  Straight from the daydream of a woodland sprite, Andrine’s flowing layers of organza are garlanded with white blossoms and apple green leaves that trail upon organza vines.  Hidden by garden sprites, large silk blossoms are placed under a layer of the organza to create a little mystery in the sweet bride’s gown. 

 

A spell carried on a magical faerie flint was cast upon designer Elizabeth Fillmore, provoking her to cast aside the starlet silhouettes of last season and become mesmerized with the attire of more ethereal beings.  While under this spell, no duchess satin has clung to the bodies of Ms. Fillmore’s brides.  Rather, they are lovingly adorned in tulle and crochet.

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