Doe eyed and daring, the youthful bride ran breathlessly to the altar at New York Bridal Fashion Week, while the traditional bride slowly traipsed behind.
It was the classic case of old meets new at the Fall 2017 shows of Monique Lhuillier, Rita Vinieris as well as Amsale’s four -line digital presentation, in which extreme necklines, sheer negligees (dressing gowns) and transparent detailing clashed with renaissance idealism of laced sleeves and a combination of high neck, illusion and boat necklines.
Models weightlessly adorned in youthful fluid lines and lingerie-inspired detail pranced down the swerving runway at Monique Lhuillier to a deconstructed, piano version of Journey’s “Don’t Stop Believing,” a version that played on the deconstructed aspect of the gowns characterizing the designer’s collection.
The designer attempted to reconstruct the archival looks of her 1990s’ collections for the modern, innocent and excited bride of the 21st century for Fall 2017. Lhuillier’s breathtaking collection succeeded in doing just that, with the inclusion of delicate tulle, lightly draped organza folds and a color palette of white, crème, blush and coffee.
A sheer, body-skimming gown was Lhuillier’s dominant silhouette, with touches of lace, silk, ostrich feathers and beaded embroideries stitched into each gown. Cinched waistlines were also a hit, as delicate ribbon belts nipped the tousle-haired and flush-cheeked models right at their midsections.
Courtesy of Vogue
Each design was sheer perfection.
At Rita Vinieris, similar intricately embroidered gowns were present for “a Collection that was alluring in its design, chic in its perfection and the essence of simple luxury,” according to the show’s notes.
“Alluring” and “chic” were two words that clearly summed up Vinieris’ Rivini Collection, as “Timeless,” a crepe sheath gown with a low back and cap sleeves, and “Treasure,” a chiffon sheath silhouette with peek-a-boos and bishop sleeves, sailed down the runway.
Courtesy of The Knot
However, in terms of “simple luxury,” the collections was far from simple and all the more extravagantly luxurious.
Simply put, couture details were weaved throughout the variety of crepe, chiffon and organza gowns finished with overstated touches of beaded embroidery, sheer panels, ostrich feathered-trimmings, beguiling illusions and intricate veils. This is not to say that the collection was anything less than beautiful, however, as fluid silhouettes and meticulous detailing kept attendees wondering what would come next.
Courtesy of The Knot
A key standout in the endless parade of white ensembles was “Promise,” a ribbon lace ball gown with a ballet bodice, transparent detailing and an unexpected ostrich feathered neckpiece.
Simplicity was rather the common ribbon that tied together the four collections of luxury bridal group, The Amsale Group; Amsale, Christos, Nuovelle and Kenneth Pool.
Amsale’s own collection featured a variety of a-line, sheath and modified a-line gowns with subtle manipulations of fabric to either create gentle ruffled layers or more crisp, structural pieces. It was a lineup for any bride searching for a pretty and practical gown for their special day.
Courtesy of Amsale
Christos’ Fall 2017 Collection was a bit more daring with the rare appearance of deep v-necklines, sheer detailing and high-low hemlines that merely hinted at the models’ legs. However, the collection lacked the modern pizzazz and excitement of Lhuillier’s, as its more “risqué” pieces were hardly “risqué” at all in modern context.
Courtesy of Amsale
On the other hand, Nuovelle’s Fall 2017 presentation was a collection fit for grandma’s approval with the absence of strapless gowns. Traditionally laced, short and full-length sleeved gowns paired with high and illusion necklines were signature to the rather humdrum collection.
Courtesy of Amsale
But, it was Kenneth Pool’s overwhelming seven-piece collection of strictly ball gowns that proved classy risk-taking by Lhuillier and Vinieris trumps all for the modern, doe eyed bride.
Courtesy of Amsale
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