I went in a lavish direction with the floral inspiration of the collection, and created a diaphanous, frothy skirt with a flange that blooms and blossoms and seems to bubble over. Paired with the delicate ruched French tulle bodice, it’s a truly romantic experience.
I adore tulle. It’s always a wonderful material for a wedding gown, and it works to such lovely effect in the one-shoulder bodice here. When it’s paper-thin and draped against your body, you can barely feel it. The sensuality of this fabric against the skin is very important. I’m always concerned with how a gown is experienced through the sense of touch, and with Farrah that feeling is exquisite. The twist, at the shoulder, is thrillingly girly.
The skirt is so visually exciting because it’s an elaborately designed study in tulle and tissue organza, in a very delicate, diaphanous arrangement of layers. Nearly every other strip is hand-painted, which gives a marvelous effect, because when the light catches the platinum tone under the blush organza it’s a beautiful cascade, like a soft sunshower, of delicate metallic hues. This is a very soft, feminine gown but the details give it that articulation and intelligence which is so appealing to the Farrah woman. This bride is someone who is drawn to a very crafted, articulated beauty, but is of course a romanticist, someone who can’t resist the overall sumptuousness and lightness. Farrah is a poetic vision, and it feels truly poetic from within.