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Dekko.5 Winter 2019

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Opening Lines W

“Art is to imagine an alternative reality”

hen I first thought of these words I expressed great re-

on the Sustainable Wedding’s group page regarding not com-

joicing in how tightly I had summarized what Dekko

promising classic bridal wear by having a redesigned gown is

artistically portrays in its pages. However, after several days of

stunningly supported with our Falmouth Hotel shoot. Yes, it’s

absorbing the artistic stance of the world, from well-crafted

traditional in style but fashion plays no part in its revelations.

styles of modern buying, written insights of fashion marketing

A personalised wedding dress is timeless not deceased after six

and several retiring epigraphs on Facebook/Instagram (return-

months….

ing to realism?) I began to wonder if this alternative reality is

Frustratingly the endeavour for change can get blurred and the

in fact our day to day life. Is running a ‘site’ on the Web an art

honest denotations of repurpose and recycle is washed away

form, or are they moulding and shaping our lives to either fit

when corporates with large budgets wade into other land-

in or be an awkward angle that stands apart – difference being

scapes because they want to be all things to all people. People

the ultimate aim? By objectifying the Web, social media has

want definition; in all the myriad of choice they want guid-

become a day by day sermon. Some criticise the wasted lives

ance to who does what best. The voices appealing for help on

that implant behind screens, whilst others strongly believe that

Facebook and inquisitive approaches at bridal fairs is surely an

it guides us in our existence. It does not change the fact that

indication of what is needed and why clients want the indus-

the majority find it as addictive as it is deranged and by this

try to know whose strengths lie where. In all sectors choice for

one means surreal. In conclusion Dekko is going to carry on

brides, grooms and party is still increasing at an alarming rate.

sticking to point of fact, we do not follow trends and we believe

There is seemingly no pause, as soon as one business leaves

in evolution of materials alongside ideas.

the next one is aligned to fill the gap. Three years previously

Whilst we are on the topic of art, our cover for this issue is an

our opinions and suggestions for greener weddings was not

elegant representation of portrait master Cecil Beaton’s style.

received favourably. The wedding industry encourages huge

Thomas Foreman is an astounding photographer that manages

spending and aims for astronomical profits; recycled or sus-

to capture the modern beautifully whilst finishing his images

tainability are not compatible with the slogans ‘it’s only one day

with a bygone flair. As an all-round creator for this publication

- spoil yourself ’. A wedding does not have to be radical as a

seeking out talented individuals to work alongside is exciting

concept, the redirection can be purely (and logically) why and

and most definitely a privilege. With every publication we ex-

how you purchase your services and products.

press a huge thank you and state our respect for creative in-

If you would like some twists and turns to themes, this issue is

dividuals and teams worked with. Dekko endeavours to stay

once again offering an eclectic mix: brooding brides express-

with the businesses approached and continually offers further

ing their difference in black, the beautiful alchemy of the coast,

scope for imaginative and productive collaborations without

and the hotel grandeur of timeless style. We shall also delve

suggestions to compromise your style. I myself started out as

into aspects of the holistic wedding and regale its fascinating

a business where my designs were always going to be for the

warmth of the human spirit in this ultimate ceremony of love.

minority and never massed produced. It is far from easy not

Our very precious pages are of Kerrie and Andy’s real wedding.

to be tempted to ‘reform’ and jump into the mainstream where

Lots of voices are singing in harmony from this feature as we

finances are concerned, yet with Dekko our principles are to

offer our readers the opportunity to absorb a wedding so care-

awaken new concepts regarding weddings and special occa-

fully creative that it makes it truly remarkable. Our origin of

sions not to feel swept along with the pressures of being part

artistic show and tell, whether with styled or real weddings will

of a ‘group’. We are proud of this and feel our honesty pays off

not change, and this might be the simplest form of uniqueness

with respect from those we communicate and work with. Most

you will find in today’s alternative market.

importantly readers will not see Dekko cross over to the mainstream magazine market as we evolve. A personal point raised Dekko. 3

Contents 6 Back to Black Catch the inside vibe of black bridal wear

34 On the Whole

A look at the nature of holistic concepts for modern weddings

36 Here by the Sea A vision of the past. An alchemy of human and coast.

60 Kerrie & Andy

A creative coastal wedding

81 The Dictation of Fashion Compliance of the echo chamber

82 The Style Icon A homage to the modernist asthetics of Cecil Beaton

100 Style Focus - Hair & Makeup

Past and present: influences in hair and makeup.

Editor/Feature Writer: Kyla Prior dekkomagazine@hotmail.com Digital Assistant: Noel Prior dekkomagazine@hotmail.com Published online at http://www.issuu.com Print enquiries dekkomagazine@hotmail.com Front Cover: Image by Thomas Foreman Photography/Bridalwear by Roamer Rose/Model: Rachel Witton Contents Page: Image by Emma Coster Photography/Bridalwear by Roamer Rose & Stacie Clark Knit/Model: Amelia King Š 2019 Kyla Prior. All rights reserved, any unauthorised copying or adaptation of content from this publication is strictly prohibited.

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BACK TO BL

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he British Beatniks of the early sixties or Beat Generation as they self-titled themselves in America was a fresh extension of the Lost Generation that emerged in the twenties. Coming from similar territories writers, artists, musicians, and intellectuals took on the conflicts and political hypocrisy that stripped these generations of their illusions about democracy, peace, and prosperity with song and poems. Many of society to this day express doubt and cynicism regarding their artistic endeavours that embraced defeatism yet expressed a truth beyond their years. Their blatant act to distance themselves from the norms of society only seemed to bring more attention to this disgruntle tribe. We are talking guitars strummed in minor, existentialism, anarchy, the desire to be 'free', travel by hitch-hike and dank coffee. And those girls in pale make up, contoured in black polo necks and berets -dark and defiant. The creative contrast behind our shoot was to display black as a look for today’s bride whilst letting accent colours of the brilliantly cool Artist Residence Hotel sweep the backdrop. Subsequently our persuasive written accompaniment is a revaluation of black in today’s modern style approach to ceremonial dress. In other words, can black be worn on your wedding day….

LACK

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A

s with every genre the Beatniks mode of dress emerged to express their cool hostile demeaner. Black is seemingly the colour of the ‘living dead pan’ and has been adopted as a bleak tone for the involved but disinterested parties of youth culture throughout our decades. No sooner had the Beatniks dissolved into sunny yellow hippiedom then the punks arrived dragging (literally) jet leather pants across sharp objects. The goths of the eighties befringed (with the blackest of souls), gypsy skirts and symbolic t-shirts, coolly dismissing everything living with heavily lined eyes and I don’t mean past it but playing at ‘passed away’. Even Madonna took on the role of black net until half a film reel later she had managed to peel away the layers to reveal something altogether whiter and rather more virginal... deep.

So how can black be formed into something other than a tribal uniform? Historically it has adopted many cloth forms with Jacobeans, Jews and other devout communities: the nuns habit considers black as sinful, whilst the white head piece shows purity. Couture fell in love with the rich qualities that seemed to fragrant from the ominous black cut. Chanel’s classic little black dress and Yves Saint Laurent’s tuxedo (which embraces gender equality) creates two of the most notorious designs that hypnotically spell out elegance. Nobody will forget the impact of Princess Diana’s US appearance in that gorgeous dusky chiffon ‘revenge dress’ by Greek designer Christina Stambolian. Mid-range lines such as Laura Ashley invited the country ladies to wear black velvet to top notch functions - the look for eighties power padded puffed sleeve ball gown. High fashion took black with its blank canvas (perfect for endorsement motifs) and immortalised the leggings and hoody-basi-

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cally urban attitude full stop. The conclusion seems simple, black means everything but nothing at the same time.

When considering a ceremony should black be worn? Leaving aside the obvious aspect of mourning dress, contemplate a beautiful bright occasion like a wedding? Can brides persuade most ivory dress hunters that black shows class and joyful sophistication rather than reduce it solely to the rebellious aspect?

Or could the wicked suggestion of black being the colour of sin tell a story of a bride that’s already had some worldly experience! If we are willing to except that we live in a postmodern world, where anything can merge and regenerate why are traditions still so apparent in todays wedding? There have been movements into other colour possibilities with a platitude of rich warmer tones. From cream to champagne and nude to blush; even a deep claret slips into a winter wedding occasionally, but black may remain fashioned by steampunk rituals and gothic revivals.

A larger scope is possible for black if its qualities are recognised and not where its pigeon-holed: an evening dress, a mourning dress, a religious ensemble and so on. Black is far more assertive than white. Dependable and striking, it has beguiled us with its seducing qualities of taller, stronger, shapelier. It can be as direct as a stare or gentle as a still dawn, yet it effects both male and females in such similar ways. We will always return to black as part of our historical story, it has journeyed with each of us and played its impressive part to reassure our reflections. It could be time to embrace black in all our walks through life happy, sad, or simply the romance of humankind’s greatest symbolic adventure, the wedding .

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Artwork by Tanja Durrant www.gigsketch.co.uk

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Credits Venue Artist Residence Penzance www.artistresidence.co.uk/our-hotels/cornwall

Stylist Kyla Prior for Dekko Magazine

Photographer Joey Lamb Photography www.joeylambphotography.com

MUA Penny Pascoe www.makeupartist-cornwall.co.uk

Hair Stylist Kerra Griffith www.facebook.com/kerragriffithhairandbeauty

Bridal Fashion and Accessories Roamer Rose www.roamerrose.com

Flower Work Roamer Rose www.roamerrose.com

Models Kelly Stoddern, Jaymi-lee Porter, Jessica Sander-Moore

Artist Tanja Durrant www.gigsketch.co.uk

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On The Whole I

n Dekko we endeavour to explore weddings and their constant evolvement in our ever advancing century. With this piece we take a look at two interesting aspects of the holistic view in modern weddings.

Firstly the choosing of the dress and giving it more of a role than just a fashion accessory and secondly reflecting on the chosen wedding party and what they and the bride and groom can exchange to make the day wholly memorable.

Holistic brides, you can really focus on the dress as a whole representation of self and not just a visual shell.

Your dress can speak volumes of who you are and not contain fragments of other’s ideas from surrounding influences. Many people shop for their wedding dress with several companions, whether close relatives or bridesmaids; sometimes even the groom is invited to ‘dress shop’ if the wedding is especially intimate.

There are emotional risks to consider when what you have in mind to wear on your special day may fall flat

of dresses over the next 12 to 18 months…

Secondly you have a very strong sense of your body shape and style preferences. All your dresses - day or evening carry the same pattern and cut therefore you refuse to deviate or try anything new. This is often a clearer self-directed scenario as you know what you like, however it can create issues if said shopping party want to persuade you to be experimental for your wedding dress. Any amount of coaxing from mum or bridal retail assistant won’t budge a strong minded individual….

Lastly there is the comparison situation where everyone else’s wedding is focused on and analysed: she thinner than me, will a mermaid shape make my bottom look like hers, I want lace, straps and shoes mirrored off those weddings, but can I carry off those heels and will my bouquet be bigger, better and look more expensive. Once this is exhausted then the groom is next to dissect…Will my partners hair look that good if cut by that stylist, everyone is having tweed waistcoats for ushers, so mine will even if they

if everyone doesn’t rise to the occasion and get teary eyed. It can help to whittle it down to three scenarios of pre -shopping prep: Firstly, are you an image hoarder? Does your phone, laptop or iPad contain enough wedding dress images to confuse even a fashion buyer? What are you really considering with these images, because often it’s the model and how the dress fits her that has made you go straight for the save key. When your image selections span a myriad of genres, fashion themes, shapes and fabrics then subsequently expect to try on hundreds

think its too ‘vintage’. The anxiety soon comes when the words special and personal start to appear in planning conversations; its hard to start thinking of your wedding as unique when one’s brain is full of so many other archived wedding designs.

It might be time to take a fresh approach, this dress will be the most complete outfit you will ever wear.

When designing a dress, small personal touches with colour, visual motifs and texture are carefully recorded and considered with the bride. Many aspects of a bespoke gown or two-piece is explored with feel and

The Dress Bubble

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sound of fabric just as important as look. Added accessories can complete a garment (or so we are persuaded) but really in the dress nothing else really is needed if it’s comprehensively covering all corners of the magical spectrum. The realm of the senses is a marvel to the human condition; once all sensory elements are alight you will radiate on your wedding day.

The Guest Bubble When we balance the whole of who we are, we come to know our natural state of enchantment; we are then operating or functioning as a whole being. When we attempt to function or operate with only a part of the whole, we naturally feel less than wholly who we are, which doesn’t feel entirely connected. So what is at the core of our natural holistic tendencies…

In all honestly women have always held the principle of organising special occasions…their skills at planning and making are legendary! Yet in today’s modern world of austerity and repurposing, the roles of friends and family within collaborative events has expanded through genders as well as generations. It is crucial to focus our energies on the fundamentals

of ceremony: giving of ourselves as well as receiving from others. Sharing in gathering the things we desire to have in life as a group is a bonding ritual in itself.

Going back to practical working methods (who’s skills lie where) whilst logically empowering older generations to utilise their strength of wisdom, is a wonderful way to delegate your assemblies. Playing to these strengths in a group congregation can hold a wedding together, from pre-planning to post clearing the day after.

If we, as individuals can integrate and thus communicate to the collective whole the concept of our weddings, it can assist in bringing us back into balance. When we are balanced we come from our centre, our third eye point of view, and in that state we can create anything, easily and effortlessly. It can be quite magical to be completely in tune with wedding guests; they will see how much effort has been made to bring all together. Sharing such a wonderful emotive experience with a confident bride and groom is an afirmation of happy longevity, strong and together as life intended them to be.

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‘This rebirth of soul was the main goal of the alchemists. The water is a symbol of a higher level of consciousness, the Quintessence.’

T

he most perfect place to be is by the sea, although for many any open place of sheer quintessential beauty

embodies a higher level of emotional response - remember the wandering Romantic poets? But for now, lets return to the coast and explore why as a setting it has been used most ardently as a mesmeric potion for novels, poets, magazines, film and even composers for sense of place….

‘Behold the Sea’ launches the amassed choral swell of the great 20th century composer Ralph Vaughan Williams A

Sea Symphony. Based on the little-known collective poems of Walt Whitman’s Leaves of Grass the listener is projected through the majestic power of the sea’s moods. This modern composition spelt out a new artistic dawn for symphonic movements and an alchemy of sound was brewed transcending both abstract and humanist perspectives.

How were we as a small independent magazine going to transcend the usual wedding styled setting without such grandeur ourselves? Science and simple crafts with a touch of nostalgia seemed to be the most obvious way…

Is was never going to be a straight forward piece of planning when it came to create a story board that merges the coast, romance and a joining of raw materials symbolic of these things. Typically, it started as a journey back to where the sea started to evoke these feelings within. More logical than bewitched, the coast line and vast oceans conjured feelings of exploration, scents, textures, sounds and drifting treasures. The sea still washes ashore many typically admired objects but often it delivers unwelcomed objects to remind us that out of sight is not out of mind regarding discarded plastics, metals and chemicals. Whereas the sea was a cauldron of magic and mystery with tales of wizardry and mermaids’ todays tales of the sea are statistically produced and make for heavy (and honestly) hopeless reading.

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hildren saw the seaside as a trove of treasures, heady mix of creativity, new discoveries and exotic an expanse of wonder - and it could well be

relations added to the canvases and literature pro-

again if we endeavour to balance the constant dis- duced. The Waves by Virginia Woolf and The Bay play of righting our wrongs through litter picking by Katherine Mansfield humanised the south seas duties and art from washed up waste with remem- with a voice mimicking our desires and dreams. bering our initial relationship with the shoreline.

As a creative team we understood our roles in cap-

The rebalancing of us being guests in this awe-in- turing how our creative designs drew inspiration spiring environment was a contributing factor of from our surroundings at Portholland without choosing only one model to represent our story of disrupting them. Sandra Austin’s jewellery dea woman seeking solace with mother nature on the signs reflect the elements of the sea perfectly in morning of her wedding.

form, texture and materials. The very fact that she

For as much as there is a mighty force within us

melts down and reuses old jewellery by customer

to clean up our seas and beaches we also need to

request reinforces our ethical stance of conscious

consider what the sea does when left to its own de- quality recycling. Stacie’s delicately crochet cotton vices. It was enough throughout the 18th and 19th

top was made with the waves in mind emulating

century to place ourselves by the coast to ‘take the movement with natural materials. Roamer Rose air’, to mend our bodies and minds and for city

also looked to texture, pattern and colour for the

families to experience space and recreational time

shimmering deep-sea green cardigan and pearl-

in between the hop picking and mining consign- ized woven skirt. All these pieces were wonderfully ments. As with the theory of sympathetic mag- captured by photographer Emma Coster who has ic used aboard ships to find their bearings (that the lightest of touches when seizing the majesty of Kenelm Digby presented in the 17th century), our coastline. the basis of alchemy (where the sympathetic force

This composition of Portholland is an artistic view

educed out from natural elements) appealed to the

of how we can immerse ourselves with place but

sympathy or like qualities between two junctures, not disrupt. The marriage of nature and human in would improve or heal various human conditions

all its metaphysical wonder can be achieved but

and restore mental health. Writers and painters firstly it must be relearnt by our future generations. drifted down to the southwest of England to ob- We should not add or take away but optimistically serve the fantastical elements of light and varied watch true magic take place as our coasts continue working communities and bohemian groups grew to try and remain as potent and effective for the from these relaxed passages of observant times. A

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future.

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Introducing...

S

andra Austin is a contemporary jeweller based in a beautiful creekside village in the South West of Cornwall. Sandra’s love of design and creativity, and a passion for jewellery moved her away from a successful career in Oral Health Education to study Silversmithing & Jewellery. She graduated with a first BA(Hons) degree in 2013. Sandra’s surroundings and it’s natural beauty are the main inspiration to her work. With the outstanding stretch of 300 miles of coastline, Cornwall has so much to offer. Aesthetics are carefully considered by the forms, shapes, moods and colour changes reflected in the sand and sea. Her collections are always evolving, creating modern and unique pieces. Handmade chains with asymmetric designs run throughout her collections. Each link is cut and individually soldered.

They are then shaped, formed and suspended into fascinating long lengths expressing fluid movement of shape and light with sculptural, linear qualities. Sandra also specialises in jewellery commissions; by working closely with her clients she has become well known for remodeling and up cycling old sentimental jewellery. Melting gold and silver whilst reusing gemstones and diamonds create unique pieces that stand their ground in the ever growing landscape of bespoke designers. Sandra’s signature style and her aesthetic approach to her work has become easily recogonised, building a reputation for high quality and wearable pieces of jewellery.

Sandra Austin

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Credits Location Portholland Beach, The Roseland Penisula, Cornwall

Stylist Kyla Prior for Dekko Magazine

Photographer Emma Coster Photography

MUA Michelle Jones

Bridal Fashion and Accessories Roamer Rose (Skirt/Cardigan/Hair Comb) www.roamerrose.com Stacie Clark Knit (Crochet Top) www.stacieclarkknit.co.uk

Flower Work Roamer Rose www.roamerrose.com

Jewellery Sandra Austin Jewellery Design www.sandra-austin.co.uk

Model Amelia King

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Sandra’s signature style and her aesthetic approach to her work has become easily recognised building a reputation for high quality, tactile and wearable pieces of jewellery.

Elegant free flowing designs inspired by the natural surroundings of beautiful Cornwall.

sandra-austin.co.uk Commissions welcome 58. Dekko

07792 300 129

sandra@sandra-austin.co.uk

facebook.com/SandraA.silversmithing.jewellery

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Kerrie & Andy A Creative Coastal Wedding

Beautiful pictures and heartfelt narrative by bride Kerrie, depicting her and partner Andy’s stunning St Ives wedding which took place summer 2018....

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ith all the pressure and vast expense involved with creating lavish weddings we knew from the off we

wanted something small, relaxed and as authentic to us as possible. By getting inventive our special day need not cost tens of thousands of pounds like the ones we are accustomed to seeing on Instagram.

Even though we initially had other ideas - like getting married abroad, being home in Cornwall seemed like the most natural and special choice for us. Choosing a venue was a relatively late decision as we struggled to find something simple and relaxed. There was no need for a large venue for only 30 guests; so, when we finally booked we had just 6 months to plan! With my partner’s logic of ‘you can build a house in that time, of course it’s doable!’ we were set on making it happen. He was also determined not to let me get put off by the suppliers who told us we should have booked 2 years ago. Yet businesses were found that were not phased by our approach and been as they were as relaxed as we wanted our wedding to be, they were the ones we wanted to work with.

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I

chose Roamer Rose to alter (basically rebuild!)

Another distinct element was our jewellery. Tide-

my dress, which was over three sizes too big line Treasure created a sea glass necklace and ear-

when I bought it! I also love her passion and

rings set for each bridesmaid which even had a

understanding of the task in hand - she is so in- charm with their initial on the necklace to make it credibly talented. For my evening jacket I wanted completely personal to them. The sea glass is a soft something different and loved the idea of cus- opaque blue colour which matched their ‘shades tomising my Levi’s denim jacket with some sort of blue’ bridesmaid dresses wonderfully. I too had of ‘just married’ or ‘Mrs Carr’ covering the back.

the same necklace and earrings but with white

I took a design to another artistic friend and we sea glass that resembled pearls. To my surprise, planned to customise it together. Two days later Jo who runs Tideline Treasure ensured all the sea she messaged me to say it was all done, it is amaz- glass was handpicked on beaches as local to me ing! I wore it in the evening and on the day after as possible. This felt truly special and my bridesthe wedding whilst exploring St Ives and having

maids absolutely adored their gifts which we have

an afternoon tea together. It most definitely kept all worn again and again since the wedding. the celebratory feeling going…

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y bridal bouquet was by a local florist who creates naturally wild and rustic bouquets. I asked for some succu-

lents to be added to keep part of the bouquet growing after the wedding; it’s now planted and growing in our home, which I love.

The idea of throwing my bouquet away distressed me greatly…

I dried it instead and hung it on the wall in our living room - a lovely reminder of such a special day. The amazing bridesmaids’ bouquets and buttonholes were made by one of my bridesmaids and her mum who are most talented. They were perfectly in keeping with the theme and so special to have them make these for us. I used some of their flowers along with some beautiful locally grown flowers from Rebecca at Petalys Flowers to add pops of colour to the rooms. I spent months pruning the rose bush in our garden and drying petals for natural confetti, the idea of the confetti being from a place special to us was worth all the effort.

Some fresh petals were picked the day before the wedding to cover the aisles and with the roses being a pale pink colour it looked very pretty and smelt amazing.

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y husband’s elderly aunty (who sadly could not make it to the wedding) made

our main wedding cake and we asked our local café (where we spend far too much time drinking coffee) to make a selection of cakes for our cake table. It was lovely to include little details like this that related to our normal day to day lives together. Even our cheese wheel wedding cake was constructed on our wedding morning by us, with crackers and chutneys of course! My Husband and his best men took a trip to collect freshly baked pasties from a bakery he’d carefully chose - well he is Cornish so a good pasty is very important to him. There was a homemade pick ‘n’ mix table to bring out everybody’s inner child and on reflection this was all plenty of food for the evening - especially after a three course wedding breakfast.

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or the seating arrangements we didn’t want any sort of hierarchy: invited close family and friends were all equally important to our momentous day. We chose

one long table to fit all thirty of us; I styled the table in a ‘beach chic’ theme with beige muslin to incorporate tones of the sand, casually draping the entire table and leaving it to naturally fall to the floor at both ends. Eucalyptus and shells were scattered on top to create a rustic outdoorsy feel and beautiful candles were added with lots of locally sourced wild flowers in different glasses and vases that we’d collected (I think we spent an entire weekend on the lead up peeling labels off bottles!). We made our own wedding favours by filling little bought bottles with a double shot of sloe gin or tequila - it was a brilliant way to buy everybody a drink! I was incredibly pleased with how my vision came together, even the wedding team said how much they loved my styling and they see so many wedding’s so this was a huge compliment!

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O

ur photographer Sar

chosen simply becau

with her and knew that she h

did photos. It was so impo

feeling on edge with a came

pose for photos - again Sara

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rah Brittain Edwards was

use I had previously worked

has great skill at taking can-

ortant not to have anybody

era in their face or having to

ah is perfect for this.

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T

he Polaroid table had one of the fl

made. I really loved how it created

selfie props and instant printed photos to

This was lovely to look through the follo

sequently all our married mornings toge send-off which I’d highly recommend, it

to get all the sparklers lit in time and fo

walk through, everybody was having a g an amazing feeling.

My words of wisdom to anybody plann

ply this: do exactly what suits the both o two weddings are the same and that is

unique. Embrace what is important to y

like to do together, incorporate them wh ding doesn’t have to be expensive, it rea

budget. Be open about your costings an

times venues and businesses aren’t as b and are more than willing to give you

with what you want and be thrifty by mak using sites like eBay for wedding bits -

things like decorations and garden gam

used for a single day! Enjoy every secon

married in Cornwall and you’d like any o I’d love to hear from you.

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floral photo frames we’d

d a fun activity with the

o add to the guest book.

owing morning and sub-

ether. We had a sparkler was so much fun trying

orming an arch for us to

great time and that was

ning a wedding are sim-

of you, nobody else. No what makes them truly

you and the things you

herever you can. A wedlly is ‘doable’ on a small

nd ask questions; some-

booked up as you think a discount. Be creative

king things yourself and it makes sense to reuse

mes that have only been

nd and if you’re getting

of my recommendations

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Credits

Venue St Ives Harbour Hotel & Spa www.harbourhotels.co.uk/hotels/st-ives/

Bridal hair and Makeup Makeup By Ione

Photography

www.makeupbyione.com

Sarah Brittain Edwards Photography www.sarahbrittainedwards.com

Bridesmaid’s hair Jodie Jerome

Dress

www.cre8tivehairandbeauty.co.uk

Mori Lee transformed by Roamer Rose www.roamerrose.com

Venue Styling and decoration Cornwall Creatives

Bouquet

www.cornwallcreatives.com

Twigs & Greens www.twigsandgreens.co.uk

Bridal & Bridesmaid’s Jewellery Tideline Treasure

Bridesmaid’s bouquet and floral decoration

www.tidelinetreasure.com

Lesley & Lucy

Jacket Levis customised by Kezzy

Bright Cornish Flowers Petalys Flowers www.flowersfromthefarm.co.uk Dekko. 79

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The Dictation of Fashion S

hopping for a special item of clothing is exhaust- shopping adventures (polite) we would have said the ing – its official! How do I know this? Because high street, magazines and catalogues – move forward

recently I seized the whole of my normal work day thirty years and there is a feeling of being pushed (eight hours) to search for a very special dress for a

down the wires of online fashion dictators who sell to

very special occasion - a Ball no less. Determined to

us overtly, but seemingly forever in the corner of our

put my theories of ‘off the peg’ into something re- eye. Before I ventured out for this hideously defeating sembling a critical study I broke the day down into

fashion flog (!) I did this decade’s online trend myself

certain fashion retail sectors: high street, boutique, and poured over the main fashion prophets online. It vintage and my usual haunt – charity shops. Finally,

felt like a bad game of monopoly where chance (sizing

I fell, in an untidy flushed way, into my last resort ‘the

is such a gamble) and community chest (or as I say,

dress agency’, I can’t bring myself to comment on ‘that’ “is that it?”) really makes you conscious of how this practice further.

double dilemma is a mind stretch beyond physically

I had my priorities, to find a dress that looks unique

shopping. If one doesn’t rein it in, then the addiction

(my style) and fits (as standard) well. Adjustments ob- to merely check new stock/fresh lines become irresistviously aren’t a problem, even so far as the addition ible. But hang on what was it I wanted again? Seriousof sleeves or replacing zip closures with laces or but- ly the halting process really helps you to re-evaluate tons - we are all about reasonable expectations at RR!

what the heck you’re trying to achieve.

I can only declare that out of the outfits examined - Definition (there is that anti postmodern word again) over fifty, I only tried on two: a second-hand sequin is very important in ordering our shopping habits for 80’s style dress by Coast and a pleasantly safe simple

the future. It will reduce waste and society can spend

ice blue jacquard dress at Topshop. Neither lifted my

less time agonising over what makes an outfit genuine-

spirits. Not a woman to normally weep over cut cloth

ly special. Forecasters who predict our fashion habits,

but words were muttered like a prayer for all those what we require, why and when should simply draw ‘shoppers’ male and female that go out to hunt for that

the line and reduce the collections so quality of de-

occasion piece and feel beaten at every turn. The shoe

sign is key. Suffice to say this dress day out reaffirmed

was now definitely on the other foot and on reflection what a sincerely needed business Roamer Rose is. The uncertainty began to play with my belief that buying a simplicity of meeting a single person’s needs for a disdress is not what it was. So how do we shop now and

tinct event in a style and fabric perfect of it and them

who makes the decisions on what we need to be seen is a beautiful equation. The only persons influencing in?

is client and designer – you can’t get more direct than

We hear all the time about influencers online who that. The story ends with this conclusion: do not waste shop then report back to the masses about what (col- eight hours of your time (plus many more online) in a our, shape, fabric) should be bought and from where.

bubble of frustration, I have suffered this stressful ex-

There are also suggestions to what places these pro- perience, so you don’t have to. Looking in the mirror, curers should wear these outfits - to be seen is to be I suggested something, then three days later, one dress heard for fashion bloggers and their tribes. Howev- and another happy client, me….. er, if we return to the basics of what influenced our Dekko. 81

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“Be daring, be different, be impractical, be anything that will assert integrity of purpose and imaginative vision against the play-it-safers, the creatures of the commonplace, the slaves of the ordinary.”

Cecil Beaton

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he celebrated British photographer Cecil Beaton (1904-1980) had an eye for extravagance from an early age. His passion was for the glamour of bohemian high society and during his career he photographed exclusively for Vanity Fair and Vogue magazine; later adding Royalty and WWII recordings to his list of attributed works (The Duke and Duchess of Windsor is a firm favourite of mine… just see how he gets them to pose!).

After the war there was a return to form for Beaton as the start of a renewed period of decadence offered new opportunities for his particular talents. His use of background textiles, reflective materials and props for light effects create an aesthetic truly original to its time. Beaton’s feisty appetite for dramatic opulence soon drew him to the theatre, where in the 1950’s he designed (and won Tony Awards and Oscars) set and costume for My Fair Lady, Coco and Gigi.

Beaton’s marvellous gift for portraiture and fashion photography was astoundingly astute, with poise of character and

composition a significant skill. By the time his first exhibition was revealed in London he was already marked internationally for his exquisite portraits of infamous women such as American actresses Loretta Young and Chinese born Anna May Wong in New York.

Was Beaton a celebrity of his day? very much so, yet the contradiction lies with him as also an outsider who knew all the inside people. What strikes me, that for someone who observed from outside the window he could still capture his subject’s complete attention.

Enriching fashion collections from the prestigious designers of his age Beaton followed through his sixty-year career by shooting the art, music, film and model elite of the 50/60/70’s – Hockney, Francis Bacon, Sinatra, Twiggy, Shrimpton - Warhol and Jagger to name a small few. Beaton’s eye for light and shade; outline and arrangement will remain legionary in the domain of photography, his iconic portfolio immortalised through the eye of his lens.

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The Falmouth Hotel is particularly good for space and light. Its huge windows create frames of brilliance that move like a sundial throughout the day. The long elegant walkways from one cluster of rooms to another reminds one of the stylish catwalks of old. There is also the bonus of angled spiral staircases with the fantastic graduated hanging lights – a detail delight for Tom our photographer. On numerous occasions I had been told of the wonderful photographic opportunities at the hotel and after talking to the then wedding events manager a date was set for the Beaton inspired shoot.

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Credits Venue The Falmouth Hotel www.falmouthhotel.co.uk

Stylist Kyla Prior for Dekko Magazine

Photographer Thomas Foreman Photography www.weddingphotographercornwall.net

MUA Penny Pascoe www.makeupartist-cornwall.co.uk

Hair Stylist Elliegant Hair www.ellieganthair.co.uk

Bridal Fashion and Accessories Roamer Rose www.roamerrose.com

Flower Work Roamer Rose www.roamerrose.com

Models Rachel Witton, Rachel Platt, Beatrice Blaj

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www.falmouthhotel.com 01326 312671

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Style Focus Hair T

he 1930’s fashions for make-up and hair were a hard act to follow, but despite the hardships of WWII the 1940's was still a landmark decade for trends. It was a genre of trailblazing styles and new silhouettes, with many of the styles still adopted today. It was all about the ‘New Look’ with this era and new rolled hair silhouettes and bobbed waves took the lead from Dior’s nipped in waist lines and full circle skirts.

Ellie Hawksworth writes…..

“What a team and shoot it was! With three beautiful models, Elliegant hair created befitting styles to suit the Avant Garde concept introduced by Dekko magazine that complimented perfectly the incredible outfits created

by Roamer Rose. Using modern products each look created was sleek, simplistic yet striking. Texture, volume and a touch of new wave splendour was also incorporated to show case my love and passion for the art of hair styling.”

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Images by Penny Pascoe

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For a natural look using natural products Penny Pascoe ITEC. VTCT 01872 271150 | 07866 412447 | penny@makeupartist-cornwall.co.uk Wedding Makeup Cornwall | www.makeupartist-cornwall.co.uk

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Style Focus Makeup M

ax factor is a family run cosmetic empire that started in 1909. Its products are immortalised in the glamour of the early movie stars, reaching a pinnacle of excellence in the 1940’s with the ice-cool aloof style that reigned supreme in movie houses all over the world. With all its myriad of colour scopes MF applied it’s scientific wisdom in establishing the principle that certain combinations of a woman’s complexion, hair and eye colouring were most effectively complemented by specific makeup shade sets called “Colour Harmony”. However they were not the only business vying for top place in the beauty world.

Due to the war, products and their packaging reverted

to minimalism; this was a fact of life even for indulgent items in the 1940’s, and makeup was no exception. This suited companies with the pared back look such as Chanel and Dior, however Elizabeth Arden and Helene Rubinstein still hankered after the previous decades of decadence. Arden and Rubinstein’s competitiveness was still as evident as previous years with luxury cosmetics and skin preparations their biggest sellers. They also were favoured amongst the make up artists in the world of cinema with actresses privately clamouring on the black market for their elegant ranges that impacted so well on the big screen.

Penny Pascoe writes…..

“In the 50’s & 60’s women were seemingly like butterflies, exquisitely emerging by use of eyeliner and ever more pressed powder to enhance their look. However, there was a light touch which maintained natural beauty. There was no such thing as contouring for definition or the application of multiple layers of foundation to make the face more attractive. This meant that along with a paler lip the women and girls looked younger, fresh faced and hopefully as with everything in history this will come full circle again.”

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