Vow Magazine

- Issue 1- Spring/Summer12 - £5, €6, US$8, ARS$35

SHE MAY NOT BE THINKING ABOUT YOU EVERY SECON D OF THE DAY, BUT SHE WILL GIVE YOU A PA RT OF WHAT SHE KNOWS YOU CAN BREAK - HER HEART. SO DON’T HURT HER, DON’T ANALYZE AND DON’T EXPECT MORE THAN SHE CAN GIVE. SMILE WHEN SHE MAKES YOU HAPPY, LET HER KNOW WHEN SHE MAKES YOU MAD, AND MISS HER WHEN S HE’S NOT T HERE. – B O B MA R L E Y

This page & Following page Photography JOSEFINA ALAZRAKI Photography Assistant GAST贸N TORRES Styling LUCILA MELLER Styling Assistant ELOISA CASTA帽O Hair ALEJANDRO REYES Make-Up SOFI KLEI Model VIRGINIA FERREIRA @ PINK LOCATION Estancia Santa Rita - Lobos, Argentina Virginia wears dress by Gabriel Lage, bracelet by 925

EDITOR’S LETTER

Yo u k n o w t h o s e t i m e s w h e n y o u t h i n k y o u a r e s o d i f f e r e n t , s o s p e c i a l ? We l l , I u s e d t o h a v e those, a lot. I was young, positive and life was just about ripening. I was in control and o n t o p o f t h e w o r l d . A n d t h e n s u d d e n l y, w i t h o u t e v e n l o o k i n g f o r i t , I f e l l i n l o v e . A n d then I wasn’t different or special anymore. I would turn into one of those weak girls who l o s e t h e i r e s s e n c e a s q u i c k l y a s s o m e o n e u t t e r s t h e ‘ L’ w o r d . I t r i e d t o a c t c o o l a b o u t i t , not letting it invade every second of my overwhelming days. But while thinking I could do anything, anything at all with my life, I realised that nothing actually made sense if love wasn’t a part of it. It didn’t have to be the end of me, but a complement of me. And so I gave in. I gave in so strongly that even thousands of miles didn’t manage to break us.

And so the never-ending story began, and with it the creation of this first issue of . A m a g a z i n e t h a t i s n o t j u s t a b o u t l o o k i n g p r e t t y o n t h a t o n e s p e c i a l d a y, o r p r e t e n d i n g t o b e p e r f e c t s o t h a t p e o p l e w i l l s e c r e t l y w i s h t h e y w e r e y o u . I t ’s a b o u t c h e r i s h i n g t h a t o n e t h i n g t h a t d o e s n ’ t c o m e e a s i l y i n t h i s u n - d e t a c h e d w o r l d w e l i v e i n . I t ’s a b o u t t h e ‘ b e t t e r ’ a n d t h e ‘ w o r s e ’ , t h e r e a l i t y, n o t j u s t t h e f a n t a s y. I t ’s a b o u t b e i n g f r e e t o b e y o u r s e l f , a n d a l l o w i n g t h a t v e r y s p e c i a l p e r s o n t o c h a n g e y o u , b u t f o r t h e b e t t e r. I t ’s a b o u t acknowledging that force which we sometimes take for granted, realising that love is a l u x u r y, b u t o n e t h a t c a n ’ t b e b o u g h t . A n d w h e n i t ’s r e a l , i t ’s f o r e v e r. is a resource for those who didn’t lose themselves in the process, and are willing to make their wedding day about them, about the couple. The team that keeps it together and s u f f e r s t o g e t h e r, b u t a l w a y s c o m e s o u t s t r o n g e r.

This issue will strive to demystify wedding day taboos, presenting alternative views on topics such as engagement rings, fairytale romances and staged appearances. It will also p r o v i d e a s e l e c t i o n o f t h e b e s t a n d m o s t o r i g i n a l n a m e s i n t h e b r i d a l i n d u s t r y, p e o p l e w h o are happy to share this great moment with you and will help you make it happen – your style. As some would say: ‘a shaded view on weddings’. The way we see it, ‘shaded’ can only mean ‘personal’. And there is nothing more positive than staying true to yourself.

So for all of you out there who thought you were just another one in the bunch, think t w i c e . Yo u ’ r e e m b a r k i n g i n a j o u r n e y t h a t i s b o u n d t o b r e a k t h e s t r o n g e s t o f c h a r a c t e r s , but there is no reason why it should break you. Sit back, enjoy the ride and remember: love is pure and forgiving, and it should be celebrated that way too.

Lucila Meller

Editor-In-Chief

CONTENTS preliminary Engagement Rings Page 12 The Rock Page 14 Sabine Roemer Page 15 Lauren Adriana The Planning Page 18 Mark Niemierko P a g e 2 0 R o b Va n H e l d e n Page 22 Neill Strain Fashion Page 24 Head Over Heels

the bride Archive Page 34 Elsa Getting Married Fashion Page 36 Not-So-White Page 48 Browns Bride P a g e 5 4 Ve r a Wa n g P a g e 5 8 A n d T h e B r i d e Wo r e B l a c k

the wedding Profile P a g e 7 0 D i d i e r Wo n g K u n g F o n g Page 72 Chris Craymer M e n ’s F a s h i o n Page 80 All The Real Men R e a l We d d i n g s Page 94 En Route to Paros Page 96 When in Rome Page 98 Ocean Drive

A magazine created and produced by Lucila Meller

CONTRIBUTORS w w w.v ow -br ide .c om Contributing Photographers Josefina Alazraki Zoe Vintilescu Anna Stokland Sabine Le Marchand Contributing Art Directors María Meller Sabine Le Marchand Contributing Editors Anna Stokland Advisors Hywel Davies, Kay Barron, Iain R. Webb, Martin Andersen PR Agencies Bloody Gray Greene & Sheppard Nicky Malone Many Thanks For their collaboration: In alphabetical order

Abasto Studio, Agustina Caparra, Ala Hojat, Alejandro Reyes, Annie Nixon & Matias Cacchione, Becc at Bloody Gray, Chris Craymer, Cynthia Zichy-Thyssen & Oliver Kadhim, David Subirats @ Cosmic Model Management, Didier Wong Kung Fong, Diego Vaz, Dora Moutot, Dora Veronica Simson, Eloísa Castaño, Estancia Santa Rita, Fabián Zitta, Gabriel Lage, Hernán Tecca, Jane Taylor, Jesica Baez, Josefina at Cecil Sain Hats & Bonnets, Karen Henriksen, Karen Sims, Kasia & Diego Meller, Laura Noetinger, Lauren Adriana, Louis Mariette, Luciano Marra, Luka @ Oxygen Models, Mark Niemierko, Melanie K. Tong, Mirja Sick, Mora Baldo @ Pink Models Management, Nancy @ Hype Management, Natalia Antolín, Neill Strain, Nicola Charles & Niki Mardas, Paola Albanese, Rebecca Taylor, Robert W. Eaton, Rob Van Helden, Sabine Roemers, Samantha Moore at Browns Bride, Sofi Klei, Steve Logan & Matt Stevens at Mta Digital, Via Uno. For their support: In alphabetical order

Elsa Cacchione, Florencia Meller, Giulliano Picetti, Jett Jett, Jenny & Tim from the Photography Department at CSM, Sergio Meller, Pamela Brady, Uscha Pohl.

Cover & First Page: Model Kasia Meller Photography & Styling Lucila Meller Kasia wears her own wedding dress by Oscar de la Renta Lace blazer by Diane von Furstenberg Published four times a year in London Printed by Mta Digital Unit 22 Bellingham Trading Estate Franthorne Way London SE6 3BX +44 (0) 870 066 3899

P R E L I M I N A RY

Sharon Tate’s Engagement Ring, a 4-carat opal stone surrounded by rubies, was auctioned for $21,260 in December 2011.

Given to her by film director Roman Polanski in 1967, one year before their wedding and two before her murder by members of the Manson Family, the ring became the centre point of discussion when auction house GottaHaveRockandRoll.com claimed the actress was wearing it on the night of her assassination.

T H E RO C K ONCE UPON A TIME THERE WAS a girl in love.

Longing in her wake, longing in the night.

Waiting for the day when the glow would lead her way.

Words Lucila Meller

Photography Sabine Le Marchand

What is it about diamonds? What is it that makes them so irresistible to the human (or should we say ‘female’) gaze? Is it the way they shine above all things, or the fact that they imply a certain status? As Marylin Monroe declared in her 1953 film Gentlemen Prefer Blondes, ‘Diamonds Are A Girl’s Best Friend’. But could they also turn into a girl’s worst enemy?

Ever since they’re little, girls are taught to marry a ‘prince’ and ‘live happily ever after’.

Disney tales lead us to believe that all that shines is positive, and will bring eternal happiness. A crystal slipper, a diamond tiara, even a crystal carriage will one day appear and transport us to the world of never-ending joy. The movie Timer, released in 2010, goes as far as imagining a device which is implanted under the skin and chronometers the exact time it will take for someone to find their soul mate; complete control for a complete peace of mind. But whatever happened to unexpected love? Isn’t this supposed to be the most exciting of them all?

To this childish conception of diamonds, we must then add the powerful force of peer pressure and competition; not only within small groups, but also amongst strangers. Women will invariably reach an age when they will start thinking about the previously mentioned ‘prince’, and will in turn start comparing themselves to other women who have found him already.

Which brings us to the following issue: is any prince suitable, or are we continuously looking for the one who will provide the biggest diamond of them all? Is the size of this diamond directly proportional to the amount of happiness it will

bring? True or false, this statement is hysterically floating in every woman’s mind. And if we should ever doubt it, then there will always be a seemingly perfect girl, with an equally perfect (and sizeable) engagement ring to remind us otherwise.

The very thought of wearing a ring will haunt her everywhere she goes, only hoping that the feeling of harassment will go away as soon as her very own rock comes along. But is that really the end of it? Will this woman stop obsessively looking at everyone else’s finger once her diamond is in place? Or will the comparison become even stronger than it was before?

And that’s when the real story begins.

Before getting engaged, the illusion that your man will buy exactly the ring you like is so strong that you cannot conceive anything different. You’re naïve enough to believe he knows just what your taste in jewels is, even though he probably never owned or bought one in his entire life. And honestly, if he’s still struggling to understand your style in clothes, do you really think he will have learnt what your favourite diamond shape is? So no, he’s not catching the hints when you walk by the window at Tiffany and even less so is he memorizing the fact that you’d like your diamond to be accompanied by emeralds. Consider yourself lucky if he manages to get a diamond – full stop.

So what happens when the love of your life surprises you with an engagement ring that is nothing like what you expected? Do you act like a pretentious child, paddling and screaming until he decides to change it (or you for someone who actually appreciates the effort)?

- Issue 1 SS 12 - Preliminary / Engagement Rings

The answer is no. You put your best smile forward and internalise the fact that this, as many other things, will be an acquired taste. And you will learn to love it as much as you love him, simply because he deserves it. Although you might find it hard to understand, your clueless boyfriend has actually undergone an extenuating journey in order to fulfil your feminine wishes.

Not to mention a lot of expense! So this alone should be reason enough to cut him some slug.

Of course, the starring at other women’s hands will intensify and you will feel like all your girly dreams have shattered in the time it took to say ‘yes’, but you will slowly start seeing the full half of the glass, as opposed to the empty one. The more you come to terms with your ring, the more you’ll realise that you’re truly one of the lucky ones. You’ll pick up the single characteristic that makes your ring special and start condescending everyone else’s. It doesn’t sound so great, but it will help you take it all out the way women like it the most: comparison.

Realistically speaking, very few women will feel completely understood when it comes to their engagement rings. Although one would think it’s only the size that matters, it’s shocking to see that even the fortunate owner of a 6-carat diamond ring will find a fault in it. So now you know, you’re not the only one. Or the most ungrateful, for all that matters.

Hence, be advised: the only way you’ll get exactly the ring you want is if you choose it yourself. But then again, what’s the point in that?

You might as well give him a chance to impress you. Who knows? He might actually get it right.

13

S A B I N E RO E M E R on rings

In conversation with Lucila Meller Images courtesy of Sabine Roemer

Your one-off pieces are absolutely beautiful. Are you still proud of your creations?

Of course you grow as an artist with time, but it is still great to look back and see the evolution and all these stories that are hidden in these pieces.

You’ve contributed to various charities and even created your own ‘from you with love’ in 2010. Is this area of your practice more satisfying than working on individual commissions?

All my work is very different and I value all of them, as every individual piece has it’s own personal story to tell. All the Charity work I’m involved in is very inspiring as you meet so many different cultures and people and it is great to learn that everyone can make a difference- even if it’s a small one. With the start of my own charity we wanted to give back the love we received on our traumatic journey through this tragic natural disaster we were personally trapped in in the summer of 2010. We hope we can make a change to the affected area and give education to the children of the Ladakh/little Tibet area.

Do you find it shocking that some people will invest so much money on a jewellery piece while others are starving on the other side of the world?

The world is very complex and it is very hard to just see it in black or white. Unfortunately it is not that easy and I have to say that all my clients are tremendously inspiring people, who help and support wherever they can.

How do you keep the balance between charging for your craft and using your influence to help others?

Well, first of all I think the times are changing. It is hard to get the value for craftsmanship these days.

But I guess as more successful you become the more you can use it to help. A charity only works if it’s successful.

Where do you source your gems and diamonds?

All over the world and of course I try to find the best “fairtrade” supplier.

Do you enjoy getting to know your clients and interpreting what they like?

Of course, this is the best part. It is great to capture someone’s personality- style and taste and create something unique for them, which they might even pass on to the next generation and which keeps these individuals and stories alive.

Are you willing to create whatever a client wants or does your creative input come first?

Well, of course sometimes you might get some unusual enquiries. Maybe it is not my personal style, but again this is the challenge: to think outside the box and try to translate what your client is looking for.

What’s your opinion on the traditional engagement ring?

Engagement and wedding bands are one of my favourite pieces to create. As it is so personal and a piece of jewellery which everyone wears everyday. So to be able to tell their own personal story- proposal and be part of their future is very special to me.

What are the most commonly used gemstones for these kinds of pieces?

The traditional gemstone is still the Diamond. But with younger couples and I guess the next generation you see a lot of changes to be more individual and use different materials, designs and gemstones.

Have any men or couples come to you with the idea of creating a very special engagement ring?

Yes, of course. I have a lot of men who want to create something unique and not something that you can buy everywhere. The couples come together to discuss the wedding bands.

You are a sculptor as much as you are a goldsmith.

What was your most challenging piece so far and what would your dream piece be?

I don’t really differentiate between gold and silversmith, as I became an artist and I fell in love with craftsmanship, so every piece is special to

Sabine Roemer +44 (0) 757 005 7497 mail@sabineroemer.com www.sabineroemer.com

- Issue 1 SS 12 - Preliminary / Engagement Rings

me. But of course to create something bespoke for Nelson Mandela and being able to meet and get inspired by him was an amazing experience for me. I still have a lot of dreams, to make a new fineone-of-a-kind collection, create more sculptures and maybe even a sculptured fountain one day.

Your Arabian Nights collection was launched in Harrods, one of the most renowned retailers in the UK. Any plans of a new collection any time soon?

I’m working on my new collection at the moment and a new concept. So hopefully by Christmas you can find it in stores and online.

lauren adriana on rings

In conversation with Lucila Meller Images courtesy of Lauren Adriana

You are one of the rising stars of the British jewellery industry. Would you say that studying at Central Saint Martins gave you a creative edge?

CSM is a great college – not just in its reputation but also in the network of people that you meet there.

However, I am a great believer in the fact that no one can teach you how to design. Also when you are at college, it is very easy to get caught up in opinions – of your tutors, friends, etc. It wasn’t until I left CSM and really started looking at the business I wanted to have and the kind of jeweller that I wanted to be, that I finally found my own style and ‘edge’ as it were. It’s been a long journey – it’s still very much happening – and while I can say that CSM helped, no one thing can give you your creativity.

What’s the starting point for the creation of any piece of jewellery?

While it can vary from piece to piece, the first point of interest is always the gemstone. Having been fascinated by gemstones from a very young age, and then later going on to train as a gemmologist, they are an integral part of my life as a jeweller. For me you cannot have jewellery without gemstones. When starting a piece I first get a feel for the stone – for what it wants to be – or what other stones and materials will compliment it. It’s not just about drawing pretty shapes – it is also about capturing the mood of a particular stone.

Would you rather work on commissions or your own designs?

If I’m entirely honest it’s on my own designs. We do a lot of commission work but I am brutal with my clients. If they want something ‘safe’ or a pastiche of a more commercial or well know design then I won’t do it. I turn down commissions if I feel the end design isn’t for me, even if it is what the client wants. In the end, that jewel will bear my hallmark and my name, and I have to be happy for it to be in the world as a representation of my work, as unreasonable or selfish as that sounds. However I do like to remind my commission clients what it was that attracted them to my work in the first place. When it comes to my own pieces I get to play and experiment far more.

Ironically, the more outlandish jewels sell the fastest.

Who is the Lauren Adriana customer?

That’s an interesting one. I don’t design with an ‘ideal’ customer in mind. If we are talking figuratively, then the Lauren Adriana customer is clearly going to be confident, alongside well travelled and interested in the arts and high fashion. On a more literal note, our actual customers are mainly internationals – the

majority from America, and then Hong Kong and Singapore. Within Europe we sell mainly to the French and some Russians. The British tend to be more conservative about their jewellery, and they tend to invest in it very late in life. London, on the other hand, is the perfect place to be because it is so international, which works in our favour.

Do you enjoy getting to know your clients and interpreting what they like?

I love getting to know my clients, especially seeing them so happy wearing their jewel, and hearing about all the wonderful places they have worn it to– you could say I live vicariously through my jewellery! When it comes to creating jewels for them, their personalities play a really important part so it is great when you can really get under their skin and see what they want from that piece of jewellery.

Are you willing to create whatever a client wants or does your creative input come first?

I think the answer to that is I definitely do not create whatever a client wants. My motto is; if you can get it elsewhere then don’t come to me. I understand that people want to have input over their piece – but I am the expert – this is my life and my work. If you trust in me as a designer, I will create for you a jewel that is totally unique and unlike anything else. I can show you gemstones that you have never seen before, in more colours than you could imagine. You may think you know what you want, as you probably have seen something similar before. My job is to give you what you want, by creating something that you have never seen before. That is my creative input – and that will always come first, because that is why my clients come to me.

What’s your opinion on the traditional engagement ring?

I think the saddest thing about engagement rings today is how little personality they have. There is nothing intrinsically wrong with a diamond in a six prong platinum setting, but at the same time it is not unique in any way. Also I do not agree with the emphasis that people place on diamond size and weight. To me they have come to say less about the relationship and more about the income of your partner. I would love to see a move away from the ‘Tiffany’ look and towards a more personal, less status conscious approach.

What are the most commonly used gemstones for these kinds of pieces?

Diamonds, diamonds and diamonds. When Kate

Middleton wore Princess Diana’s old ring, people in the industry were actually excited that sapphires were making a comeback – that is how narrow the market is. Personally, I think diamonds make a good choice for a number of reasons – they are durable, they are colourless so will go with everything, and they are timeless. However, I think there is so much more that you can do with them. You can use older cuts, or unusual shapes, or set them in different metals. My own engagement ring is by Suzanne Belperron, and it is an old mine cut diamond set into the top of a pyramid of rose gold. It’s from the 1930’s and looks more like a cocktail ring, but I love the fact it is such a play on the traditional notion of a diamond solitaire.

Have any men or couples come to you with the idea of creating a very special engagement ring?

Most people when commissioning an engagement ring tend to come with their partner. Although often the man will be more adventurous when deciding on his own. One of the most exciting ones I did was with a large emerald cut blue sapphire flanked by princess cut brown diamonds. It worked very well, and looked so striking on the hand. I have also worked on a beautiful five stone ring entirely set with old mine cut diamonds and set in yellow gold open work, with very Victorian detailing. It was very different from what I usually do, but it was for an older bride and really worked well on her. Obviously I like to get my clients thinking outside the norm when it comes to engagement rings, and it doesn’t take too much to just change things up a bit and create something different.

Your packaging is as special as your jewellery.

How much does packaging matter when trying to create a wholesome aesthetic?

Packaging is part of the anticipation of the jewel.

It is the bridge between the environment the piece was purchased in and the wearer. It can also delight in the same way a jewel can – when designed well it is an invaluable part of your world as a jeweller.

Essentially, I am creating something rare and beautiful, and if my packaging doesn’t communicate that, then it is letting my work down.

Any plans of a new collection any time soon?

Well, I don’t make collections – I just add new pieces to our stock all the time. However we are due to have about a dozen new pieces added soon in time for our first store opening in September. We are opening our first shop in Notting Hill – in the heart of Westbourne Grove – and want to have some very special jewels to open with!

Lauren Adriana 12 Colville Mews London W11 2DA +44 (0) 207 727 9229 contact@laurenadriana.com www.laurenadriana.com

15

A scene from the 1991 film ‘Father of the Bride’, starring Diane Keaton and Steve Martin.

The plot shows the typical developments prior to a wedding and the feeling of detachment that the father of the bride feels while letting his daughter go.

The most popular character of the film is Franck, the wedding planner.

A hilarious exaggeration of this profession in real life.

THE WEDDING PLANNER

Meet Mark Niemierko, the most innovative event planner in the UK. After just 6 years in the business, Mark has already managed to forge an impressive career, creating the most groundbreaking events for utterly glamorous clients.

The genius behind the best wedding celebrations lets it all out for our undivided attention. Read on. You might learn a thing or two.

A discussion WITH MARK NIEMIERKO

- Issue 1 SS 12 - Preliminary /Wedding Planning

You have a reputation for being the ‘creative child’ of event planning. Which work methods do you use when planning a wedding?

I really start by getting to know my couple, who they are, where they like travelling, how they met, what their favourite foods are, drinks and so on. Just from the initial venue discussion I have with a couple on what their ideal venue would include gives me a lot of information about them.

It’s also vital to know what they don’t like. Then from there I take their style and taste and draw the best out of suppliers that suit the couple.

Would you rather take matters into your own hands than delegating?

I think the best event and wedding planners are those who can spot talented and reliable suppliers they can rely on time and time again. Whether it is a photographer, florist or lighting technician! I delegate the areas of a wedding to each corresponding supplier, outlining who is responsible for what. The wedding day itself is one of the easiest parts of the job – as come the day all is in place and everyone knows what they are doing.

How much would you say the process and work is creative and how much is logistics?

50/50. There are different planners out there, some that are more creative event designers and others who are more logistical. In either case, they’ll have someone else within their team that oversees the areas that aren’t their strengths.

At Niemierko it’s very important that I visualise and understand what a client has in mind – but then also to put it into practice. For example, you may have a grand production build in mind – but the ballroom you’ve hired isn’t available the day before due to another event taking place so you can’t have a large build time.

I also ensure my couples keep the logistics at the forefront of their mind. Sure flower centers, lighting and music are all very important, if not crucial, but what’s more important than all that is the guests. How they get there. Where they check their coat. Are there enough toilets. No queue at the bar. And so on. If an event or wedding is effortless from a guest’s point of view, they’ll go away saying it was the best event they’ve ever been too.

How much does working on a budget affect your creativity?

Bizarrely the details of a wedding – such as menus, napkins, linens etc don’t affect a budget too much… all weddings need them. So those finer details no matter what the budget, are always in need of creativity. Of course the larger the budget the more you can create on a bigger scale, from production right through to the menus!

I think knowing a client’s budget from the start is crucial. It actually outlines the elements I can put my creativity to rather than defining the amount of creativity each wedding gets.

In fact, have you ever actually worked on a budget?

All the time! Most couples come to me with a budget in mind. On some occasions they aren’t sure and ask my advice on what I think they should be spending, having listened to their ideas.

How do clients approach you? Are there certain qualifications or compromises you require before you take an assignment on board?

Just that they are fun! No, seriously – although fun is very important in what I do – I don’t want to work for couples who aren’t going to enjoy the planning process as much as the wedding day itself. I often tell my couples: “Be prepared for the post wedding blues.”

“What’s that?”

“When you start missing my name in your inbox on your honeymoon!”

Naturally our couples need to be spending a minimum amount – £100,000. I will only plan 8 weddings max a year so I can ensure I spoil those 8 couples. On a first come first served basis. We do plan additional events than these 8 each year, such as birthday parties, baby showers and so forth.

We also work on weddings abroad, however it is considerably more expensive as naturally my time is taken up with extra travel. Planning a wedding in the South of France isn’t like planning a wedding in the Claridge’s – which is a 10-minute walk from my office. So naturally our minimum spend and fee does increase when working abroad.

How is the relationship with your clients? Do you always deal with the future bride or do grooms also like taking part in the process?

Grooms have become far more involved in the last couple of years. I tend to find as I take a lot of stress away and make the process quite fun and enjoyable, he doesn’t want to miss out.

Do you see a development of trends in weddings?

Can they be taken into account like any other niche within fashion?

Most certainly. Celebrity plays a big role. From Kim Kardashian to Kate Middleton, they have both had an effect on wedding trends in 2012.

Overall, I’m not a fan of trends – I think the couple should be the trend and be themselves. To a degree there are no rules with weddings in the 21st century.

Just be yourself and confident with it. Don’t feel you have to fit a Bridal box.

Do you sometimes need to crash a client’s requests because it might ruin your reputation?

Not at all! I tried to do this around 6 years ago, when I was first starting out. A Bride and Groom really wanted Karaoke at their wedding – I was very against it. Anyhow they insisted and it was a hit… he was a singer in a band – so it actually was rather good entertainment and fun. We had it on for the last 90 minutes of the evening.

From then on I learnt not to step in. Advise. But don’t take over.

What’s the fine line between what a client wants and what you infer is right for them? Do they give you complete freedom creativity-wise?

On most occasions clients trust me. We do table arrangement samples including flowers and a furniture set up of their day beforehand however. We also use numerous images and mood boards to ensure their day is visually how they imagined it.

It’s well known that future brides are particularly on edge at the very stressful time of organising their wedding. Do you find dealing with brides-to-be very different to dealing with an ordinary client?

Some Brides come to me a little stressed. However, I see them relax roughly about 2-4 weeks after hiring me. Once a venue is in place. Then once the invites are out. As most stress for Brides (and Grooms) actually comes from family and friends - peer pressure - and of course once invites have been received the guests have less questions to ask the couple. I think with every event, but particularly a wedding, it’s an important day. I think that’s part of my success as my couples have always seen that I care just as much as they do (sometimes more so!) that it’s a perfect and memorable event.

What’s the secret for staying calm and charming at all times?

To-do lists! Simple, always have a to-do list and no one will panic!

What’s your motto when it comes to planning the perfect wedding celebration?

Fun as I’ve said before. Ensure the couple is having a memorable and enjoyable time just as much as the suppliers and your team around you.

You have your own academy for Event Planning.

What can pupils expect to learn there and what do you expect from them?

The point of the academy is to create planners of excellence in the future. The UK market isn’t saturated as say the US market with top end event planners, there is space for more within the UK. I think competition is healthy and I want to create a great network of likeminded individuals to offer support and advice when needed.

Do you have any recommendations for future brides attempting to plan their weddings without professional help?

Enjoy it. Keep lists and budgets… do your research.

And plan your day in parts – breaking it into acts if you like. Act 1 being ceremony, Act 2 drinks reception, and so on.

What happens when you attend non work-related weddings? Do you keep trying to control everything around you, or can you find the will to enjoy yourself and relax?

I have the best fun you can imagine. I’m very much all or nothing.

Niemierko 3rd Floor 7A Hanson Street London W1W 6TE +44 (0) 207 580 5010 hello@niemierko.com www.niemierko.com By appointment only Words, Photography & Styling LUCILA MELLER Hair & Make-Up PAOLA ALBANESE Model LUIZA CARTOAFA@ COSMIC Luiza wears dress by Jayne Pierson and Derek Lawlor, veil by Beyond Retro

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R O B VA N H E L D E N on F L OW E R S

There is something about Rob Van Helden that I can’t quite figure out. it’s almost relaxing watching him work under the dimming lights of morning;the scent of flowers and candlelight setting the mood.

Something that must come so natural to him,yet is so extraordinary for the rest of us. If this is the effect his office gives, I cannot imagine what it must be like to walk into one of his parties.

Rob started out in his native flower-filled Holland.

One of six children, he still recalls how his father used to bring his mother flowers home every Friday. As he says, ‘there has always been a love for flowers’.

Working in the local flower shop during weekends and holidays and coming from a business-oriented family, Rob didn’t have much choice but to start Business School. The question being what kind of business he would like to run.

One corner is filled with candles, the next one with Moroccan paraphernalia, piles of Greek columns are cramped towards the back and the occasional run-down motor bike sits along the way. It’s prop heaven. And it’s never-ending.‘I’ve become so interested over the years, not just to throw the flowers on the table; it’s to do everything that compliments the flowers. It’s the tablecloth, it’s the chairs, the ambiance in the room’.

And so came the possibility of doing an exchange programme with universities in England. After a Business course in Oxford and a Management course in Selfridges, he was particularly drawn to the flower section where he finished up (or so he though) his work experience. Needless to say, he was asked to stay and work for them, his Dutch connections and innate knowledge of flowers being invaluable assets.

He claims not to have a particular style staple, but makes it clear that he won’t tolerate anything garish. According to him, flowers should be shown in their natural state. As for bridal bouquets, he says to have developed a trademark with Lillies of the Valley ‘because it’s the most exclusive flower, it has a beautiful fragrance, it’s delicate, and it complements instead of you know, here comes the bride with a massive bush in front of her’.

Then that settled it. Rob moved to London and methodically worked his way up in the business ‘I started off from the bottom, and then worked my way up, and then started up on my own 25 years ago’.

We both agree that in the creative fields ‘either you have it, or you don’t’. And Rob definitely has it.

Rob Van Helden is now the leading flower and prop hire company for events in the UK. Not only are their flower arrangements exceptional, they also provide a service that was much needed within the industry.

‘My prop hire business that I run with my sister, it’s taking off the ground because for years and years I was trying to keep on top, and following new trends, setting new trends. And you know, with the volume of jobs that we did, and the volumes of the actual jobs, sometimes you would do a wedding with a hundred tables and you would have to buy for a hundred tables.

So instead of just sitting in a warehouse, just let other people use them.’

And we’re not just talking about a couple of props laying around an empty room. Picture an immense space filled with neatly arranged objects of every imaginable nature. A black woman mannequin sporting an afro and jewelled underwear greets you in.

As for grooms taking an interest in the flower arrangements for their wedding, Rob is happy to announce that nine out of ten grooms will show up for meetings. It might not necessarily mean they care, but they do need to make sure that they’re not absolutely horrified when walking in their own wedding. Rob is very good at dealing with these kinds of situations, explaining to the groom that it’s not really about the colour of a flower, but ‘it’s the way you present it all, it’s the most important thing’.

Although being at the very top of his game, there is a sense of humbleness in Rob that makes his clients feel at ease. As he states over an over again, it’s about making someone’s dream come true, and that is absolutely invaluable. Of course, there are times when there is no real connection with prospective clients and it’s better to refuse the job than suffer through it, shifting the attention to another couple who is genuinely interested in having a mutual collaboration.

It’s this personalised attention that differentiates Rob within the industry. ‘I have personal contact with every client that walks through the door here. This is a process, which can take a year and a half, it can

take two months, it can take a week, depending on each wedding. It’s just about making each client feel comfortable and knowing that it’s a personal service, at the end of the day’. And it’s also about feeling proud of his work. Looking back on every event and picturing the guests’ smiles as they walk into a venue.

Especially with weddings, there is a sense of completeness whenever a couple walks into their reception and smiles to him in approval ‘It’s one of the most beautiful moments. Seeing the reactions on their faces going “wow”!’.

In the current economic times it is hard to invest in grand flower arrangements, so Rob will balance his clients’ décor, and budget, with candlelights and props. In an almost excusing manner, he then feels the need to clarify ‘I’m here for any clients. You know, over the years you build up a reputation, ‘oh, you can’t go there because it’s too expensive’ or whatever.

And of course, you grow into a certain league. Like I said, if you haven’t got a huge budget on flowers you can always invest in props, and you can still create a beautiful ambiance’.

When asked if he actually gets to stay and enjoy himself in these weddings, he simply answers that by the end of it all he’s just too exhausted ‘You know, it’s a 7-day job’. So not many breaks in Rob’s life. Finally, I dare ask what a wedding is without flowers. He laughs, and then answers ‘no wedding’. Enough said.

Rob Van Helden 8 Tun Yard, Peardon Street London SW8 3HT +44 (0) 207 720 6774 rob@rvhfloraldesign.com www.rvhfloraldesign.com

Images and Words Lucila Meller

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NEILL STRAIN on F L OW E R S

In conversation with Lucila Meller Images courtesy of Neill Strain

It’s obviously very important to get to know the wedding couple before creating a concept for their flower arrangements. How much of the results are your input and how much is theirs?

Getting to know the couple prior to the wedding is hugely important. Their floral décor should be a true reflection of their style, taste and personality – with my own distinctive touch of course. How much each party contributes very much depends on the couple.

The key is for me to be sensitive to their requirements and to know how much they wish to be guided.

Couples who tend to commission me to design their floral décor, tend to do so because they are drawn to my style, which is often described as bold, contemporary and theatrical. Because of our reputation, couples tend to invest a lot of trust in us and are often happy to be guided by my suggestions.

If a couple came with the idea of having completely traditional flower arrangements for their wedding, would you try to convince them to be a bit more original, or would you fully satisfy their wishes?

Again, I would be very sensitive to the wishes of the couple. My main concern would be that they get exactly the look that they wish. I would try to ensure that the floral décor compliments the venue and captures the overall style of the wedding.

What kind of customer is the Neill Strain customer?

Due to our Belgravia location, our clientele is very international. We have a mix of Russian, Middle Eastern and American customers as well as other nationalities including of course, British couples.

Often they are young professionals who look to top European designers for the hottest trends within the wedding industry.

If hypothetically you could work with a couple who completely trusted your expert opinion, which would be your dream flower arrangements?

I love to work with scent, colour and texture. As long as I can mix these elements, I will be eternally

happy. Striking compositions of Phalaenopsis, Orchids, Hydrangeas and Roses are very much my signature look at the moment - I would love to decorate an entire venue with these grandiose designs, complimented with hundreds of candles and Rose petals.

It’s generally the bride who takes care and selects the flowers and colours that will create the theme of a wedding. How do you include the groom in the arrangements as well?

From the very beginning, it is easy to tell how much, if any, involvement the groom has in the floral décor. If he attends any of the consultations or site visits – I am always enthusiastic to get his involvement as this often throws up new ideas that myself or the Bride had not considered. It makes the event much more of a team effort as far as the couple are concerned.

What kind of colour combination or arrangement of flowers would appeal to both the bride and the groom?

Every wedding theme I create is individual to the couple. Each one has been completely different from the other. Classic whites and ivories is always a popular one, with more antique vintage pallets being popular in the past few years. My personal look is to work with stronger colours and my couples tend to enjoy that look.

Are there any hidden meanings in flowers that could make sense in the occasion of a wedding?

Yes, historically, most flowers have a meaning, and the meanings vary from country to country, so with our international clientele this must always be considered. Sometimes a family may also have their own meaningful memories of a flower. In the UK, the language or meaning of flowers began in the Victorian era as a way of expressing feelings that could not be said. The well-known meanings are white for virtue and chastity, red for passion; lesser-known is a strand of ivy for fidelity and lilac for a first love.

Neill Strain Floral Couture The Flower Lounge 11 West Halkin Street London SW1X 8JL +44 (0) 207 235 6469 info@neillstrain.com www.neillstrain.com

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Is it hard to get away from pastel colours in weddings?

Depending on the look or feel that the couple are trying to achieve for their wedding, this can determine whether or not pastels are appropriate.

Black flowers are generally said to evoke funerals.

Would you say it’s an absolute mistake to include them in the wedding arrangements?

In certain traditions, there are specific beliefs about flowers. The most common one I hear is people’s association with white lilies and funerals. I would always be sensitive to people’s beliefs and not use any combination that would offend them. Black has been an increasingly trendy colour in weddings recently and although no true black flower exists, there are very deep purples, blues and browns which give the look of a black colour combination. As long as the setting is correct, this can be an incredibly striking look for a wedding.

What would you say is the coolest flower right now?

In my store, we are renowned for being the first to introduce new and unique varieties of flowers to our customers. One Rose which is always popular is “Green Eye” and “Ivanhoe”, cream and red respectively, with the most incredible tryphid-like central eye. It is a great talking point as people have never seen a Rose as unusual as this. We have also introduced our customers to some incredibly rare Tulips this year, including a flame-like variety called “Leo” and an almost Alien Parrott Tulip called “Mysterious Parrott”. Both of these are only available for three weeks each year which adds to their uniqueness.

What’s a wedding without flowers?

Of course I am biased – however, I do feel that the floral décor is one of the most important elements at a wedding. It is a way of truly reflecting the personality of the couple and they can really transform any venue into the most incredible setting.

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head over heels Photography ZoeVintilescu Styling Lucila Meller Hair & Make-Up dora veronica simson MODELS annabelle & mimi @ oxygen

headpiece Louis Mariette, net Jane Taylor, top Phillip Lim, palazzo Cameo

headpiece Louis Mariette, blazer Maje, top Emporio Armani, skirtVanessa Bruno

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headpiece Louis Mariette, net Jane Taylor, top Phillim Lim

headpiece Karen Henriksen, skirt worn as veil Cameo, top Phillip Lim

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headpiece Karen Henriksen, veil Beyond Retro

headpiece Karen Henriksen, dressVanessa Bruno

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headpiece Jane Taylor, dress Rebecca Taylor

THe BRIDE

American actress Grace Kelly and Prince Rainier of Monaco III getting married on the 19th April 1956. Helen Rose, who dressed her for her characters in movies High Society and The Swan, both released that same year, designed Kelly’s wedding gown.

Kate Middletone’s gown, designed by Sarah Burton of Alexander McQueen for her wedding to Prince William in 2011, is said to have been ispired by Kelly’s long-sleeved, high-collar, lace bodice dress.

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elsa getting married It was the year1976 and theGovernment of Isabel Perón was in the midst of doom.

Argentina was complete chaos and people were ready for a CHANGE. Little did they know that what came next would MARK their social history forever.

It was a time of ecstasy, a time of partying and flower power, but it was also a time of decadence and rebellion. And in South America rebellion meant violence. The rebels were also the thinkers; Philosophy students who dreamt of bringing Socialism to Latin America and used public college as their hub. Brought up as an Anti-Peronist, Elsa met her future husband while attending (private) Psychology school. They decided to get married as soon as her studies were over, opening the spectrum to a whole new life of happiness and possibilities.

The 25th March 1976 was the most nerve-racking day in Elsa’s life. It was not only the day before her wedding, but also the day after an episode that was the absolute turning point in Argentine history: the overthrowing of Isabel Perón.

With the President removed and sent to exile, the Military was there to bring order back to the chaotically ruled country. Or so people thought. Everything was closed that day, including the National Registry; so all weddings were cancelled. It was less than twenty-four hours before the most important day of her life and Elsa didn’t even know if she would be able to go through with it.

Everything opened on the 26th. The wedding was back on. After a sleepless night, Elsa did her own hair & make-up and headed for the Registry wearing an impromptu outfit due the unexpected change of weather. After an intimate affair, she went back to rest and then back up to get ready for the night-time reception. Everyone was happy to see the Peronist presidency finally overthrown, so they had double the reasons to celebrate.

Trying to get to the venue was an adventure of its own. The Military had taken over that block, making it impossible to drive through, so the bride and groom had to walk up to the English Club under the curious scrutiny of local passers-by.

The bride wore a simple, floor-length, waist-fitting ivory dress with flower detailing. As it wasn’t a religious wedding, she felt uncomfortable wearing the traditional veil, so she matched the outfit flowers to fresh ones in her hair.

Looking positively timeless, Elsa refused to wear the very popular cork platforms to an event that would be photographed and looked at by her own children one day. She wore medium height stilettos instead, claiming that those horrific chunks of cork would someday be out of fashion. After a high-spirited celebration, the newlyweds were greeted at the central bus station before a greatly anticipated honeymoon in the United States. Given the circumstances, no one without a plane ticket was allowed in the airport.

It was the beginning of a new life for Elsa: the happiest day for one lucky couple and a fatidic overture for an entire country.

The Military Dictatorship, thought to last only until Democratic elections took place, ended up ruling the country for the following seven years. A period ruled by fear, speculation and mysterious control methods that would thereafter be remembered as the most horrific crimes against humanity that the Argentine people had ever witnessed.

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Words Lucila Meller

Images Courtesy of Elsa Cacchione

not- so - white Photography josefina alazraki Photography assistant gast贸n torres Styling Lucila Meller Styling assistant eloisa casta帽o MODEL VIRGINIA FERREIRA @ PINK Hair alejandro reyes Make-Up sofi klei Location estancia santa rita lobos,argentina

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dress Camomille, blouseValentino, beltVintage, bracelets Celedonio

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This page: dress DiegoVaz, blazer Maria Cher, bracelet Stylist’s Own, ring Celedonio, shoes Luciano Marra Opposite page: dress Gabriel Lage, bracelet 925, ring Stylist’s Own

nothing is small in love. those who wait for great occasions to demonstrate their tenderness don ’t know how to love.

– L AU R E CO N A N

Opposite page: dress Gabriel Lage, embroidered shirt Ménage á Trois, headpiece Cecil Sain, beltVia Uno, bracelet Stylist’s Own

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lingerie Agent Provocateur, robe Myla

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dress DiegoVaz, bracelet Stylist’s Own, ring Celedonio

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This page: dress Natalia AntolĂ­n, ring Zanotti Opposite page: dress Natalia AntolĂ­n, ring 925

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B R OW N S B R I D E Photography & words lucila meller MANY THANKS SAMANTHA MOORE & PAMELA BRADY

Women have through theyears dared to wear the most extravagant, revealing and even ridiculous clothes in order to make a statement.

The new Millennium brought with it eclecticism like never before.

Yet to this date, no woman will dare change the rules when it comes to choosing their wedding dress. Because deep down, no matter how fashionable, alternative or eccentric, every woman has the same idolised wedding fantasy. And the white flawless gown is the symbol for everything that dream encompasses.

Samantha Moore is the name behind Browns Bride,the only place in the UK whereyou’ll find every top bridal designer under one very chic roof.

Also in charge of the Vera Wang at Browns store and sister to founder company Browns Fashion, one can only expect the best of the best.

Alongside the highest price tags, of course.

Browns Bride 12 Hinde Street London W1U 3BE +44 (0) 207 514 0057 By appointment only

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Stepping into Browns Bride on Hinde Street is like entering bridal heaven, yet the slightly tense atmosphere can be quite disturbing. It takes a greeting and a question for the staff to decide how they’re going to treat you. If you’re a client, they’ll offer you beverages and invite you through to wedding wonderland. If you’re not, they’ll just (very ‘politely’) ask you to wait in the foyer. After minutes that feel more like hours, it somehow makes more sense to look around the wedding offerings rather than sit on a transitory sofa waiting to be called in. It’s actually less nerve-racking trying-out for an audition. While roaming around the most delicate fabrics and trimmings, there is an unspoken thought that just won’t subside: ‘what is she wearing?’, ‘of course she cannot buy any of these dresses’, ‘and who the hell is she anyway?’. The spell is broken as soon as the bridal eminency directs her attention to the poorly welcomed stranger. She seems down to earth and non-judgemental, which is a lot to say for someone at the forefront of bridal dynasty.

Samantha has been the Buyer and Manager at Browns Bride for the last seven years; a small lifetime yet an eternity in Fashion years. Starting out as a Hair & Beauty expert and after trying her grace at Harrods, one of the most renowned retailers in the UK, she was spotted by stiletto master Christian Louboutin and taken to the newly opened bridal empire.

Which, needless to say, carries the latter’s bridal selection of entirely ivory-coloured heels.

She claims not be a romantic, but ‘a people’s person’, alleging that she wouldn’t have entered this business if it hadn’t carried the Browns tag. She wanted to work in fashion, so a regular bridal boutique wouldn’t have made the cut.

The Browns Bride customer is generally the Browns Fashion customer who decided she is mature enough to settle down and get married, and the occasional celebrity or well-to-do trophy bride who will go there just because it’s the priciest choice in town. In other words, the most stylish (or most affluent) female crowd around. They know what quality looks like, and aren’t scared of the escalating prices. In Moore’s words, ‘If they don’t understand, they’re not our customers’.

Also because they understand, they will be pretty sure of what they want for their big day, so they might even decide to pick their wedding gown alone. ‘Our bride is not your typical twenty-something girl. It would be somebody in their thirties or early forties, and a lot of brides now are buying their own dresses. If they know their own mind, they don’t need to bring an army of people with them’. Nonetheless, that is not the most common of cases.

‘For the most important dress of their lives, they just need that reassurance. It’s rare that they don’t.’ The dress is, after the venue, the most important aspect in a woman’s wedding day, so Samantha will always recommend her brides to choose the venue first, so that the dress can be matched accordingly.

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‘They think they know what they want but they rarely do. They see this sea of ivory dresses and they’ve never tried them on before. We know what they look like on people, so often you have to say to the bride, ‘please humour me, try it on’, because you can find a dress in so many ways like that. They’re like ‘no, I don’t want that, I don’t want this’, but they need to trust us. They have no idea what a dress looks like on the body and we do. Some dresses don’t have hanger appeal, they just don’t.’

As expected from the absolute crème of Bridal styling service, Samantha and her staff are willing to go the extra mile when it comes to satisfying their customers and will occasionally be flown over (all expenses covered) to destinations around the globe just to dress brides before the event. Especially with very traditional, fairytalelooking dresses, the whole walking, dancing, and even fitting in them can get incredibly complicated. And as most brides will go for a traditional look, it means the majority of women getting married will be uncomfortable in the most important day of their lives.

Never mind if the dress is the perfect fit for them, they will still need to get used to actually wearing it.

‘My Middle-Eastern brides will always want to look like princesses, because it’s a sign of wealth in their culture. If the dress is not big, it’s not happening. Do I think tradition will someday be overlooked? Not in my lifetime’. It seems that the fact brides will opt for traditional wedding gowns has more to do with not disappointing the guests than with a well thought personal decision. And as Samantha points out, ‘they don’t want to look like a guest at their own wedding’.

When asked what the latest colour in Bridal is, she stops cold ‘Colour, for brides, not really. They all wear ivory though, they don’t wear white anymore.’ But that’s about as colourful as it gets. As for the very commented all-black Fall 2012 Bridal Vera Wang collection, it’s rather disappointing to hear that ‘nobody bought it in black’. Trying to make an impact on the Bridal runway yet again, the designer opted for an all-red Bridal collection for the just gone Spring 2013 season. After seven years in the industry, Moore has only once seen a bride wearing red. And that was only because she was getting married on Christmas Eve. Let’s hope the bold-coloured bride trend continues to be strong, even if it’s just meant as an eye-opener.

Does Samantha still believe in marriage after witnessing bridal craziness for so many years? ‘Absolutely. I mean, sometimes I wonder who marries them!’

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V E R A WA N G After directing Ralph Lauren and being the youngest ever Fashion Director of US Vogue, Vera Wang opened her own Madison Avenue store at the turn of the nineties. Her very feminine designs were an instant hit within the American market and she is now a worldwide Bridal sensation.

Also running Evening and Ready-to-wear lines, her outmost success is definitely marked by her Bridal collections.

bridal collection fall 2012

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Although her silhouettes remain constant throughout the seasons, Wang manages to systematically introduce a distinctive touch that will for sure make the Bridal headlines.

Starting off with black belts or bows on white and ivory dresses, she set the standard for smaller designers to follow suit. The introduction of black detailing was seen as a breath of fresh air by less conventional brides-to-be who wished to have a different touch on their big day.

Yet no one in Bridal society was ready for what they witnessed on the Fall 2012 runway for Vera Wang: an entire collection consisting of black and nude dresses. Black is in general belief the colour of mourning, so it was certainly a call of attention for the Bridal Industry today, a parody even. The press was ecstatic with Wang’s fashion statement, yet no clients dared buy the showcased dresses in the controversial black colour.

But just when everyone thought the Fall conundrum had been enough of a statement, Vera Wang shocked the audiences yet again by showing an all red and vermillion Bridal collection for Spring 2013.

Yes, we know it’s that time of the year when flowers bloom and colours start to appear, but Wang’s portrayal of colour wasn’t exactly a cry of joy, and her pale-skinned models looked more like The Walking Dead than Little Red Riding Hood.

We sure hope that a bride will proudly walk up the aisle wearing these colours of darkness. Realistically though, we might have to acknowledge the fact that brides will only change white for ivory. And that is as much colour as one will see in real –life weddings.

As for unpredictable Wang, it’s still left to decipher what her real intentions are when showing such groundbreaking colours on a Bridal runway. Let’s just hope she keeps dazzling us with more out-of-the-ordinary designs in the seasons to come. Even if women won’t buy them, they sure are fun to watch.

Vera Wang at Browns 59 Brook Street London W1K 4HS +44 207 514 0090 verawang@brownsfashion.com By appointment only

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bridal collection spring 2013

After meeting on the set of the 1963 film ‘Cleopatra’, a tumultous relationship began between Elizabeth Taylor and Richard Burton.

Against all odds and public opinion, they married in 1964 and started a whirpool of fighting and drinking that soon drove them to personal ruin. They got back together after Taylor fell ill in 1973 and got married for the second time. Taylor would repeatedly confess that she had never loved anyone as much as she loved Burton.

and the bride wore black Photography josefina alazraki Photography assistant gast贸n torres Styling Lucila Meller model VIRGINIA guidetti @ hype management Hair jesica baez Make-Up agustina caparra Location abasto studio buenos aires, argentina

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corset La Perla, tights De la Ostia, blazer Ralph Lauren, tulle skirtValentino, hat Laura Noetinger, rings & earrings Stylist’s Own, shoes Luciano Marra

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dress Donna Karan, necklace Lanvin, headpiece Cecil Sain, rings and veil Vintage

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dress Amores Trash Couture, necklace Celedonio, rings Stylist’s Own, jacket worn as veil Issey Miyake, shoes Luciano Marra

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Married in W hite , you have chosen right, Married in B lue, your love will always be true , Married in P earl , you will live in a whirl , M arried in B rown, you will live in town, Married in R ed, you will wish yourself dead, Married in Y ellow, ashamed of your fellow, M arried in G reen, ashamed to be seen, Married in P ink , your spirit will sink, Married in G rey, you will go far away, Married in B lack , you will wish yourself back .

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This page & Previous page: dress Maria Cher, veil and rings Stylist’s Own, bracelet 925, shoes Luciano Marra

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dress Zitta, headpiece Laura Noetinger, veil Stylist’s Own

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skirt Donna Karan, brasier La Perla, top & veil Vintage, cap Cecil Sain, rings Stylist’s Own, shoesVia Uno

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dress Camomille, silk shirtValentino, necklace Celedonio, headpiece Cecil Sain, rings Stylist’s Own

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T H E wedding

Mick Jagger & Bianca PĂŠrez-Mora Macias getting married in Saint-Tropez, France on the 12th May 1971. They both wore tailored suits designed by Tommy Nutter. Bianca was already expecting their daughter Jade at the time of the wedding. Although their marriage only lasted until 1979, they remain an iconic couple.

Mick Jagger is still touring with The Rolling Stones and Bianca has become a campaigner for human rights.

F I R S T L OV E I S F O R E V E R

It was a teenage wedding, and the old folks wished them well You could see that Pierre did truly love the madamoiselle And now the young monsieur and madame have rung the chapel bell, “C’est la vie”, say the old folks, it goes to show you never can tell They furnished off an apartment with a two room Roebuck sale The coolerator was crammed with TV dinners and Ginger Ale, But when Pierre found work, the little money comin’ worked out well “C’est la vie”, say the old folks, it goes to show you never can tell They had a hi-fi phono, boy, did they let it blast Seven hundred little records, all rock, rhythm and jazz But when the sun went down, the rapid tempo of the music fell “C’est la vie”, say the old folks, it goes to show you never can tell They bought a souped-up jitney, ‘twas a cherry red ‘53, They drove it down New Orleans to celebrate their anniversary It was there that Pierre was married to the lovely madamoiselle “C’est la vie”, say the old folks, it goes to show you never can tell.

You Never Can Tell (1964) - Chuck Berry

Image courtesy of the Designer Photography Constance Govare

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D I D I E R WO N G K U N G F O N G

In conversation with Lucila Meller

What was the inspiration behind your Final Collection at Central Saint Martins?

My inspiration for my Final Year collection was based on the feeling of falling in love for the first time and having the idyllic dream that it will last forever and will end up in marriage. I was thinking of this period in everyone’s life when they are a teenager and they fall in love for the first time... All those feelings rushing through your body, the way that all your thoughts and actions revolve around that person you have a crush/ are in love with. So I started thinking about this girl, in love for the first time... still not comfortable in her own skin yet wanting to be attractive... trying to be overtly seductive yet wearing oversized garments as she thinks she is too fat.... this mixture of emotional highs and lows... I really wanted to capture an emotion and to make people feel something when they saw it instead of just thinking they were pretty clothes.

What is the attraction behind the idea of a bride?

Do you feel it’s a universal desire, an aspiration that everyone can relate to?

Well, my first attraction to creating a bridal collection and wedding dresses was the overt tackiness of it all... the idea that this is one of the biggest moments in a woman’s life yet so many women fail, fashion-wise, on the day as they unleash this fantasy that they held onto since they were a little girl... I’ve seen some grown women and stylish girls suddenly decide that a giant strapless meringue dress covered in beads or a mermaid dress worn with long lace fingerless gloves somehow made sense aesthetically.

I am not saying that a bride shouldn’t wear whatever she feels like wearing on her special day, but I feel like they get so involved in the whole fantasy of their wedding, somehow their rational side gets thrown out the window. I mean, look at Carrie Bradshaw, style icon to a whole generation and she says “I had a bird on my head” in a “what was going through my mind, I cant believe I decided to wear this?” moment in the first SATC movie.

But I was also thinking about the idea of brides, as it is a tradition in couture collections to have a bride close the show. To tell you the truth, those collections were designed in such a way as to say that they could cater to every woman’s needs, whether it be for a

casual outfit, or a cocktail dress and even a wedding outfit. One of my design icons, monsieur Yves Saint Laurent, always had a bride at the end of his show... in a sense that outfit, that moment, has a timeless appeal, it’s something that is universal, has been there since the beginning of modern civilization in many different guises and is something that will never fall out of fashion... pea coats or leather skirts might fall in or out of fashion but a wedding dress, that idea, the concept of it will always be needed as long as love and the idea of marriage will be around.

Do you think teenagers are more hopeful to the idea of eternal love than grown-ups?

I feel that it isn’t a matter of teenagers or grownups, but more the idea of how much that person has experienced that defines their belief in eternal love...

On a personal level and from talking to friends, it seems that the more you go through relationships and heartbreaks, the less you believe in eternal love… obviously, when you are a teenager and are experiencing your first kiss or have your first boyfriend/girlfriend you are more likely to believe in everlasting love than someone who’s 30 and has had their share of heartbreaks, but some people only start dating when they are in their mid 20s, so they might have the same hopes when it comes to love as a 14 year old girl. I feel that our society has become a very pessimistic group where you are lucky enough if you are still romantically attached to someone after a year, let alone for a whole life and where looking for eternal love is just not realistic.

It’s not to say that some people still haven’t lost that romantic ideal of finding a life long mate, me included, but it seems that priorities have changed in society and being in love/being loved has gone down a few ranks while having a great sex life or having money has a bigger appeal to most people nowadays; not to say that you couldn’t have all 3 with the same person but really, what are the chances?

Can the tradition of a bride in white be adapted to specific personalities, or is changing it actually defying its original grounds?

I feel that the way a bride chooses to dress on her special day should be personal and not based on expectations from society or conforming to

certain wedding dress codes that have been around forever. I personally like the idea of white; I am a fan of the colour, whether it comes to everyday dressing or wedding outfits, but who’s to say you shouldn’t wear another colour for your wedding day? On an aesthetic level, I personally prefer white, off-white or any pale neutral shade for a wedding outfit as I find it to have a certain serene appeal but I’ve seen a few brides wearing a gold shade or silver and looking absolutely breathtaking. I’m not a fan of any dark or bright colour as I find it looks too brash or evening dress attire to my liking, but really, who am I to judge when it’s not me getting married? I think you can wear white while still staying true to yourself.

My 3 favourite wedding outfits are Yoko Ono in her short dress and giant brimmed hat, Bianca Jagger in her suit and Carolyn Bessette in her Narciso Rodriguez dress… all 3 wore white yet you still felt their individual essence through it and I think that’s the most important part when picking a wedding outfit.

From looking at the collection, one can immediately sense a Nineties vibe. Do you think marriage today is still a strong institution?

It had a 90’s influence, it’s true, but that was mainly due to my big love for the designer Helmut Lang.

As for marriage nowadays, I feel that it has somehow lost its emotional meaning and has become more of a legal affair. I personally feel it has become more of an official statement between 2 people to say “we are together and off limits”, whether it be a month, a year or even a week. It’s sad to say that marriage has lost it’s essence of being a proof of love and has just become another legal statement of a partnership with all its perks.

Have you ever thought of becoming a Bridal designer or was this collection just trying to convey a specific message?

I don’t think I will ever go into bridal design again.

One, because working with beaded lace is such a disastrous nightmare, but also because that final collection of mine was not so much as a focus on designing wedding outfits but more as an intention to express a feeling and wedding dresses just somehow fell in the concept.

Didier Wong Kung Fong dda.wong@googlemail.com +44 (0) 752 514 2506

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chris craymer Starting out in the eighties and after going through every possible area in photography, new york based photographer Chris Craymer found a niche that everyone can relate to: love. His book ‘Romance’ was published in 2009 and its timeless, documentary style images reference the kind of perfect, impossibly attractive love that every girl dreams of.

In conversation with Lucila Meller

Why do you think ‘Romance’ was such a huge success? Could it be due to the fact that society is becoming increasingly pessimistic towards love?

I think that romance is a universal thing, a universal interest, so everybody can remember a time when they were in a highly charged romantic relationship, or some people are in one, or some are longing to be.

I don’t know. It really is applicable to everyone, it doesn’t matter if you are old or you are gay or straight.

We all want a little romance in our lives. Because of that, these images evoke the memory or the idea of that kind of relationship, which often interests women and secretly men too.

As your Romance subjects are real couples- What’s your role while photographing them? Do you consider yourself a voyeur?

My goal in shooting these pictures is to create authentic moments between these couples; they are a mixture of portraiture and documentary. The choice of using real couples is very important for me. When I didn’t have real couples the women in particular didn’t look like they were enjoying themselves. They seemed to be acting or even worse, just enduring the situation rather then celebrating it. I wanted to capture something about each individual couple and capture something about the feeling and emotion between the two of them. I’m not a voyeur in the sense that I’m looking at them without their consent; I often put them in situations that are my design and my idea. In a park rather than the restaurant they always go to.

Part voyeur but not totally.

How much of it is documentary and how much is fictional?

It’s documentary in the sense that they are real couples, with a real relationship, fictional in the sense

that we have hair and make-up, they are in a location they have never been to before, and so on. And asking them to pose for the camera, which is of course totally fictional. So it’s fictional, but has a feeling of documentary.

Ranging from Interiors and Travel, to Music and Fashion, you have worked in nearly every photographic field. Yet it’s somehow ironic that a photographer known for his imagery of couples would not be equally known for his imagery of weddings. Do you find the Bridal genre to be superficial or unrealistic?

The thing about my romance pictures is that they are meant to be a little bit witty, a little off beat, a little bit every day and the thing about bridal is that it is all about the big day. The big wedding day. And to me it shouldn’t be about the big day but about the relationship. It is a subtly different thing. I have used elements of bridal in some of my pictures; I just photographed a woman wearing a wedding dress on a New York roof with her boyfriend. I’m not against bridal things, but I don’t want to photograph the wedding. And maybe it’s about the couple that has this great wild affair and they aren’t planning on getting married just yet. Overall, it’s not about the big day but about the relationship itself.

Wedding blogs all over the world have used your images of Romance as inspiration for their vision of perfect love. Have you ever been asked to do wedding photography?

I have. I find wedding photography a big challenge.

The requirements for weddings involve formal photography of the couple and the family; a certain degree of portraiture. I think for me it would work best if someone else did those formal shots and I just took pictures or if the couple were happy to have less

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formal pictures because I’d want to do black and white photography and maybe pictures that weren’t so perfect.

When analyzing your images, it almost seems like you are not even there. How do you manage to ‘be there’ while ‘not being there’ at all?

I think it’s a question of talking to the couples and explaining to them what we want to achieve and then letting them go into their own bubble and when it really works they do forget about me. Other times it’s more like a portrait and I want them to look at me. I’m not always not there; sometimes I’m there [laughs].

You started off your career using film photographyDo you feel the use of film is more effective when it comes to conveying real emotions?

What’s nice about film is the grain; I love the imperfections, it’s forgiving. I think film is a very nice medium to use and when we shoot digital we try to make it look like film as much as possible.

Do you think that being a Fashion photographer helps when capturing not only a romantic, but also an aesthetically appealing image?

I think it helps. Fashion photography can be very visual and appealing, but I think that there is a danger in it- it can only be interesting to others in fashion photography. The appeal of the Romance series is that we are using some great teams that are well respected in the fashion world, but we also bring it back to photography that is interesting to everyone.

Images from ‘Romance’, 2009 All images courtesy of the artist

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Chris Craymer LGA London 49 Neal Street London WC2H 9PZ +44 (0) 207 240 8222 www.lgalondon.com www.chriscraymer.com

all the real men Photography Anna Stokland, ZoeVintilescu Styling & words Lucila Meller Hair & Make-Up Ala Hojat Location Inspace Locations Many thanks Karen Sims

From left: Jason wears shirt & tuxedo by Gucci and flower pin by Lanvin,Alex wears suit by Paul Smith and shirt by Etiqueta Negra, Reece wears 3-piece morning suit & bow tie by Gieves & Hawkes and shirt by Gucci, Oxord wears suit by Calvin Klein and shirt by Ermenegildo Zegna All ties by Topman, all pocket squares by Pucci

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From left: Jason wears shirt by Gucci, tie by Ermenegildo Zegna and pijama trousers by Zara Elliot wears shirt by Paul Smith, tie by Hermés and boxers by Zara, Alex wears shirt by Gucci and tie by Ermenegildo Zegna

ONCE UPON A TIME THERE WAS A MAN OUT OF PLACE. A DISCOMFORT OF SORTS, A RUSH OF SHAME CLINGING ON. THE SETTING WAS GRAND, THE JOURNEY WAS LONG, AND THAT MOMENT OF SHAME HE COULD NEVER LET GO.

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Just like in fairytales, he arrives to the castle; confidence up, girlfriend in hand. The band is playing; the champagne is flowing- what could possibly go wrong?

But when he looks around, his so-called confidence drops down to square one: every man around is wearing a tux.

He takes a second glance. He might not be the only one, yet nothing changes in his mind. He tries to keep it cool, his man-vanity taking over fast. ‘So this is how girls must feel like’, he thinks to himself, affirming that being out of place definitely sucks.

In every wedding there will be guests who stand out. And when it comes to men, spotting them is as easy as tricking a child with candy. Amongst a desert of similar-looking dark suits, a lighter one will invariably be recognizable; same with a tie amongst bow ties or a regular suit amongst tuxedos. Possibilities may not seem apparent, but there are many ways to make formal attire look original. As are many ways to prevent looking vulgar, especially when facing the inevitable ‘renting a tux’ situation. But why is it that men are so scared to stand out from the crowd?

On average, it seems that the ‘struggling to be different’ department is exclusively reserved for women, even though it’s far less complicated to succeed at it being a man.

To begin with, the most important thing to take into account when it comes to wearing a suit is that it fits right. There is nothing more painful than seeing a man wearing a jacket that is three sizes too big for him. Not to mention wearing floating, way-to-long suit pants, for all that matters.

Check that the arm hemline fits exactly over the shoulder and not below it. And don’t even think of going for pinned trousers; they will never be flattering. As for jackets, one button is usually the way to go, but two buttons are also acceptable. That said, no one should ever wear a three-button or Mao-styled suit. No words can explain how wrong these are.

Also, it is always good to at least try being original when combining your shirt and tie. For weddings, the general rule is to choose a plain dark coloured suit, be it black, grey or blue, and then match it with a white shirt and virtually any tie. But since the aim is not to blend in with every testosterone charged person around, we recommend going for different shades of blue, pink, yellow or purple. There are no set rules when it comes to choosing your tie, but the past years have seen a comeback of the very skinny tie that

was first popular towards the end of the fifties, and a return to anything traditional will now seem outdated. Brands such as Paul Smith, Gucci and Dolce & Gabanna have them in every possible version and, as is usual, this style has trickled down to the high street with Topman carrying great designs at affordable prices. Nonetheless, a real silk tie is always a good investment, if you can afford it. Those in the know will for sure be able to tell the difference.

Moreover, it is recommendable to match at least one colour of the tie to one colour of the shirt.

Even if the patterns are completely different, this visual effect will always work magic. As for prints, miniature objects or animals are cute, especially if they come with an Hermés tag, but more abstract designs might be better if you’re going for a cool modern look. Plain coloured ties in metallic or bright hues are also a good choice, especially when combined with pocket squares, which are a completely different chapter all together.

Although not for everyone, they have become quite popular within vintage aficionados and have gained notoriety with television characters Chuck Bass from Gossip Girl and Don Draper from Mad Men. There are various ways to fold pocket squares, but it is advisable to keep it simple with cotton or linen and go for more complicated folds with silk. If you’d rather be on the safe side, stick to the Winged Puff or Two-Point fold.

Wearing a waistcoat is somewhat of a bold statement. From a female point of view, it will look very sexy towards the final hours of the party when ties are off and shirtsleeves are folded. So, by all means, go for it if you dare. They will look especially good as part of a three-piece suit but you can also choose them in contrasting colours to your shirt and tie. They will look great with a bow tie as well, giving a more retro aesthetic.

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Bow ties are compulsory when ‘Black Tie’ is required, so always check the dress code before attending a wedding or any other formal event.

Most weddings nowadays won’t require all guests to wear a tuxedo, but the groom and best men will generally be wearing Morning Suits with tailcoats and matching ties or bow ties.

Although combining the different parts of the suit with complementary colours is the traditional way to go, try blending all shades for a more striking effect, especially for less formal occasions like cocktail parties or day-time wedding celebrations. For an overall more risqué look, take inspiration from the Alexander McQueen, Dior Homme, Gucci and Lanvin Fall 2012 Collections, while for more traditional, yet perfectly chic looks it’s best to get inspired by the Burberry Prorsum, Valentino, Jil Sander or Salvatore Ferragamo runways.

If you’re amongst the lucky ones who can afford having a made-to-measure suit, mostly recommendable if you’re the one actually getting married, then head to Richard James or Ozwald Boateng in London’s traditional Savile Row, who combine exquisite tailoring with utterly modern details. And since it’s your wedding and no one can tell you otherwise, you can choose from the great range of amazingly bold colour combinations available.

Although your future bride will most likely not reveal the details of her wedding dress before the big day, do make sure your outfit goes well with hers. Something that is overlooked by most grooms is the fact that not all brides will choose the same shade of white for their gown (if they even choose to wear white, that is) so it’s best to check beforehand in order to match hers exactly. It will look better in the pictures and it’s nice when couples match their clothes in general, so this day should for sure be no exception.

First row: Images 1 & 2 - Oxford wears pants, vest, & bow tie by Gieves & Hawkes and shirt by Gucci, Reece wears shirt by Etiqueta Negra, tie by Prada, suit pants by Calvin Klein and rings by Topman Images 3 & 4 - Elliot wears shirt by Etiqueta Negra, vest by Topman, trousers by Alexander McQueen and flower pin by Lanvin,Alex wears shirt by Gucci and trousers by Alexander McQueen, Oxford wears suit pants by Gieves & Hawkes and vest by Beyond Retro. Second & Third rows: Jason wears shirt & tuxedo by Gucci and flower pin by Lanvin,Alex wears suit by Paul Smith and shirt by Etiqueta Negra, Reece wears 3-piece morning suit & bow tie by Gieves & Hawkes and shirt by Gucci, Oxord wears suit by Calvin Klein and shirt by Ermenegildo Zegna, all ties by Topman, all pocket squares by Pucci

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Reece wears silk shirt & rings by Topman, suit pants by Calvin Klein and shoes by Dolce & Gabbana

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Alex wears shirt by Gucci

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From Left: Oxford wears pants, vest & bow tie by Gieves & Hawkes and shirt by Gucci Reece wears shirt by Etiqueta Negra, tie by Prada, suit pants by Calvin Klein and rings by Topman

TITLES IN THIS SIZE

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From left: Jason wears shirt & tuxedo by Gucci and flower pin by Lanvin,Alex wears suit by Paul Smith and shirt by Etiqueta Negra, Reece wears 3-piece morning suit & bow tie by Gieves & Hawkes and shirt by Gucci, Oxord wears suit by Calvin Klein and shirt by Ermenegildo Zegna.

All ties by Topman, all pocket squares by Pucci.

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MODELS ALEX WELLS & REECE PITTS @ NEXT OXFORD & JASON @ STORM ELLIOT @ SELECT

Frank Sinatra married actress Mia Farrow, at the time aged 21, on the 19th July 1966.

They met on the set for ‘Von Ryan’s Express’ (1965), one of Sinatra’s movies, and she later accepted to take a role in his following film ‘The Detective’ (1968).

Farrow ended up not being able to participate in the movie, as it was interfering with the schedule of one of the most successful horror movies of all times:‘Rosemary’s Baby’ (1968).

In a rage of jealousy, Sinatra presented Farrow with divorce papers in front of the whole cast and crew.

They were married for less than two years.

en route to paros Heat. Lot’s of it. Sticky, dozing, overpowering heat. Greece at its very core. The bus ride from the airport only confirms that forty degrees do not mesh well with crowds. The views of Athens remind me of Mar del Plata during the seventies. A not-so-elegant seaside destination for middle class Argentine families. It’s still early, but definitely too hot for sightseeing. Two hours later, the un-welcoming port area is even worse than imagined. An impossibly complex language adds to the general doom feeling. My partner tries to take control but gets overwhelmed in the process. Expect the unexpected; I’m on my own. A dodgy Club Sandwich, two litres of water, four pots of ice-cream and a whole lot of patience later, it’s finally boarding time. Prospect is good: a two-bed cabin with en-suite toilet and shower.

Perfect for the melting weather and overnight trip ahead. Or so we hope.

I’m not going to lie. Everything about this humongous floating monster is creeping me out.

It may be the time though, or a very diverse list of other factors. Someone accompanies us to our ‘room’. It’s not actually that bad. Yes, the bed sheets surely need some washing, but that is as much as I can complain about. The cubicle has everything it should have and we couldn’t be more grateful. Funny thing is, I had no idea which tickets I had purchased last minute the day before. Sometimes life does smile back at you.

Just as expected, that shower worked miracles.

All groomed up and ready to go. Outside our luxury lodgings, the panorama has somehow changed since we first stepped on the boat.

Everywhere you look is someone trying to settle down. Whole families, kids included, camp up on corridors trying to make the best out of their bargain tickets. The sofas at the cafeteria are so covered up that it’s hard to see the sacrificed leather underneath.

A couple of hours of continuous dreaming have been more than enough to wake me up.

Quietly descending from the heights, I leave the comfort of our private suite. I might as well still be dreaming. The scenario is scarily surreal. It feels like the basement of the Titanic, only spread over three floors. I have never seen so many strangers sleeping together at once.

The whole private-public limit has been unashamedly trespassed, creating a philosophical chaos. I urge to photograph this unexplainable spectacle but feel ashamed to do so.

Half-decent equilibrium skills are allowing me to advance through the corpse-like jungle successfully unnoticed. I reach outdoors. A sickening odour floats around the unattended toilets. I move away. Found the spot. It’s notorously colder now and I can’t help feeling bad for these people trying to sleep outside; guilty for not making better use of the warm bed I paid for. Forget it. Just act as if you were one of them. Sitting under the light of a giant reflector, I begin to browse through the pages of my magazine. I feel stared at and ignored simultaneously. A Spanish girl is directing her cigarette smoke indifferently at me.

I wish I could tell her off in the language that we both share. But it’s official: respect is not part of these people’s vocabulary. It’s not even a matter of nationality, but more of a context –affected behaviour.

I refuse to be part of this Lord of the Flies re-enactment.

Confusion strikes. Are we there yet? Have we actually missed our stop? Can anyone translate Greek, please? The temporarily quiet atmosphere has now become the perfect arena for under-slept, untamed animals.

Yes, we are definitely in Paros. It’s dark and people are struggling for the only five taxis around. We sit and wait on the sidewalk. How long can it take? Everything must be close-by anyway.

We migrate outside for some air. The sight is unsurprisingly bizarre. But at least the weather has shifted from suicidal to somewhat pleasant. There’s an air of celebration that I can’t quite figure out yet. Have all these people graduated at once? Are they just so happy to have a break from work that they will allow themselves to appear absolutely ridiculous and inappropriate? Is it necessary to be almost naked in a public space? Too many options, no real interest. But still…why am I paying so much attention to them? My Caprice delights are probably not fulfilling enough to distract me from my surroundings.

It’s seven in the morning and the sun is out making everything better. The unharmed island could be taken right out of a storybook. It’s truly impressive. All of which compensates for the last three hours we spent waiting for the taxi ride.We’ve reached the hotel now. Time to rest.

Some time later, we’re back up trying to make ourselves presentable for the big ceremony.

The concierge says there is no transport arranged. We cannot be late since yet another boat is taking us to the wedding site. Some people are hanging around the pool. They look like they’re dressed for the occasion, Panama hats and all. But of course they claim their rented cars are all too cramped for us to fit in.

We could have all squeezed in, if they had only granted us that privilege.

I have to admit though: despite the teen spirit, alcohol spills and occasional dog barks, it does feel very peaceful up here. And Athens at nighttime is positively striking. I take a moment to call my father and let him know that everything is under control. The tone of my voice reflects the never-ending journey. We’ll make it on time for that wedding, even if we have to swim there. Not sure if he is relieved or having a heart attack.

We are moving. I feel like we’re about to embark on a trip where the unthinkable might appear unannounced. I momentarily fear that our distinguished accommodation might be counter-productive after all. We’ll fall asleep, miss our stop in Paros and wake up in Mykonos; missing the wedding and whatever’s left of our dignity along with it.

Alarm clock is set. Can’t sleep.

Even after the hazardous climbing in an attempt to reach my second-storey bunk.

“You just missed the wedding bus”, the receptionist says. We are definitely lost in translation and there are no taxis available for the next hour. Everyone around seems beyond relaxed, making us even angrier. My partner has been idle since we first started the odyssey but has now woken up to a single great idea: we’ll rent a scooter.

We make it just on time. Everyone around looks immaculately unaffected by the burden of real life. Not even the midday heat has had an impact on these goddesses’ porcelain-looking skin. It’s all too neat to be true.

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Words Lucila Meller

All images courtesy of Nicola Charles & Niki Mardas

when in rome the regal wedding

CYNTHIA & OLIVER wedding Photography OLIVER HOLMS LOCATION CASTELLO DI TORCRESCENZA, rome DATE 24TH NOVEMBER 2011 wedding dress verawang

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ocean drive the deco wedding

ANNIE & MATIAS wedding Photography paper antler LOCATION INDIAN CREEK COUNTRY CLUB, miami beach DATE 12th November 2011 wedding dress johanna johnson

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THE BEGINnING

STOCKISTS LONDON In alphabetical order

Agent Provocateur 16 Pont Street London SW1X 9EN +44 (0) 207 235 0229 w w w. a g e n t p r o v o c a t e u r. c o m Beyond Retro 11 0 - 11 2 C h e s h i r e S t r e e t London E2 6EJ +44 (0) 207 613 3636 w w w. b e y o n d r e t r o . c o m Calvin Klein 170 Regent Street London W1B 5TQ +44 (0) 203 100 2900 w w w. c a l v i n k l e i n i n c . c o m Cameo Greene & Sheppard PR 1 s t F l o o r, 6 6 C h a r l o t t e S t r e e t London W1T 4QE +44 (0) 207 580 0399 w w w. c a m e o t h e l a b e l . c o m . a u Derek Lawlor 213a Lower Clapton Road London E5 8EG +44 (0) 786 645 2518 w w w. d e r e k l a w l o r. c o m Diane von Furstenberg 25 Bruton Street London W1J 6QH +44 (0) 207 499 0886 uk.dvf.com Dolce & Gabbana 175 Sloane Street London SW1X 9QG +44 (0) 207 201 0980 w w w. d o l c e g a b b a n a . c o m Donna Karan 46 Conduit Street London W1S 2YW +44 (0) 207 479 7900 w w w. d o n n a k a r a n . c o m

Karen Henriksen Studio W7, Cockpit Arts C o c k p i t Ya r d Northington Street London WC1N 2NP +44 (0) 207 430 1569 w w w. k a r e n h e n r i k s e n . c o . u k Lanvin 128 Mount Street London W1K 3NU +44 (0) 207 491 1839 w w w. l a n v i n . c o m La Perla 163 Sloane Street London SW1X 9QB +44 (0) 207 245 0527 w w w. l a p e r l a . c o m Louis Mariette 1A Bannon Court 54-58 Michael Road London SW6 2EF +44 (0) 207 730 3050 w w w. l o u i s m a r i e t t e . c o m Maje 129 Sloane Street L o n d o n S W 1 X 9 AT +44 (0) 207 730 9097 w w w. m a j e . c o m Myla 4 Burlington Gardens London W1S 3ER +44 (0) 207 491 8548 w w w. m y l a . c o m Paul Smith We s t b o u r n e H o u s e 122 Kensington Park Road L o n d o n W 11 2 E P +44 (0) 207 727 3553 w w w. p a u l s m i t h . c o . u k Phillip Lim Selfridges, 400 Oxford Street London W1A 1AB +44 (0) 207 318 3603 Check website for other London stockists w w w. 3 1 p h i l l i p l i m . c o m

BUENOS AIRES In alphabetical order

A m o r e s Tr a s h C o u t u r e Angel Carranza 1979 Buenos Aires CP1414 + 5 4 ( 11 ) 4 7 7 5 3 6 0 1 w w w. a m o r e s t r a s h c o u t u r e . c o m . a r Camomille Arenales 1590 Buenos Aires CP1061 + 5 4 ( 11 ) 4 8 1 2 9 7 8 2 w w w. c a m o m i l l e b o u t i q u e . c o m . a r Cecil Sain Av. P r e s i d e n t e Q u i n t a n a 5 9 1 B u e n o s A i r e s C P 11 2 9 + 5 4 ( 9 ) ( 11 ) 5 3 4 6 1 2 9 0 w w w. c e c i l s a i n . c o m Celedonio Castex 3225 Buenos Aires CP1425 + 5 4 ( 11 ) 4 8 0 3 7 5 9 8 w w w. c e l e d o n i o . n e t De La Ostia El Salvador 4627 Buenos Aires CP1414 + 5 4 ( 11 ) 4 8 3 3 3 4 6 8 i n t 1 0 7 w w w. d e l a o s t i a . n e t D i e g o Va z Av. S a n t a F é 1 9 7 9 4 B B u e n o s A i r e s C P 11 2 3 + 5 4 ( 11 ) 4 8 1 3 2 9 9 7 w w w. d i e g o v a z . c o m . a r Gabriel Lage Callao 1490 P2 Buenos Aires CP1024 + 5 4 ( 11 ) 4 8 0 3 5 5 6 2 w w w. g a b r i e l l a g e c o l e c c i o n . c o m Laura Noetinger Cabello 3690, 2B Buenos Aires CP1425 + 5 4 ( 9 ) ( 11 ) 5 9 4 9 8 6 0 5 w w w. l a u r a n o e t i n g e r. c o m

Prada 16 Old Bond Street London W1S 4PS +44 (0) 207 647 5000 w w w. p r a d a . c o m

Luciano Marra Malabia 1618 Buenos Aires CP6443 + 5 4 ( 11 ) 4 8 3 4 6 3 9 7 w w w. l u c i a n o m a r r a . c o m . a r

Pucci 169 Sloane Street London SW1X 9QF +44 (0) 207 201 8171 w w w. e m i l i o p u c c i . c o m

Maria Cher El Salvador 4724 Buenos Aires CP1414 + 5 4 ( 11 ) 4 8 3 2 3 3 3 6 w w w. m a r i a - c h e r. c o m . a r

Ralph Lauren No 1 New Bond Street London W1S 3RL +44 (0) 207 535 4600 w w w. r a l p h l a u r e n . c o . u k

M é n a g e á Tr o i s Av. A l v e a r 1 8 5 4 Buenos Aires CP1014 + 5 4 ( 11 ) 4 8 0 4 7 0 0 0 w w w. m e n a g e b o u t i q u e . c o m . a r

Gucci 18 Sloane Street London SW1X 9NE +44 (0) 207 235 6707 w w w. g u c c i . c o m

R e b e c c a Ta y l o r Greene & Sheppard PR 1 s t F l o o r, 6 6 C h a r l o t t e S t r e e t London W1T 4QE +44 (0) 207 580 0399 w w w. r e b e c c a t a y l o r. c o m

Natalia Antolín Av. C r á m e r 3 5 1 7 Buenos Aires CP1429 + 5 4 ( 11 ) 4 7 0 3 5 0 7 9 w w w. n a n t o l i n . c o m

Hermés 155 New Bond Street London W1S 2UA +44 (0) 207 499 8856 w w w. h e r m e s . c o m

To p m a n 36-38 Great Castle Street London W1W 8LG +44 (0) 844 984 0265 w w w. t o p m a n . c o m

Issey Miyake 52-53 Conduit Street London W1S 2YX +44 (0) 207 851 4620 w w w. i s s e y m i y a k e . c o m

Va l e n t i n o 174 Sloane Street London SW1X 9QG +44 (0) 207 225 5634 w w w. v a l e n t i n o . c o m

J a n e Ta y l o r 3 Filmer Mews, 75 Filmer Road London SW6 7JF Te l : + 4 4 ( 0 ) 2 0 8 3 9 2 2 3 3 3 w w w. j a n e t a y l o r m i l l i n e r y. c o m

Va n n e s a B r u n o 1a Grafton Street London W1S 4FE +44 (0) 207 499 7838 w w w. v a n e s s a b r u n o . c o m

Jayne Pierson 75-77 Margaret Street London W1W 8SY +44 (0) 126 986 0918 w w w. j a y n e p i e r s o n . c o . u k

Zara 242-248 Oxford Street London W1C 1DH +44 (0) 207 318 2700 w w w. z a r a . c o m

Emporio Armani 191 Brompton Road London SW3 1NE +44 (0) 207 823 8818 w w w. a r m a n i . c o m Ermenegildo Zegna 37-38 New Bond Street London W1S 2RU +44 (0) 207 518 2700 w w w. z e g n a . c o m Gieves & Hawkes 1 Savile Row London W1S 3JR +44 (0) 207 432 6403 w w w. g i e v e s a n d h a w k e s . c o m

Vi a U n o El Salvador 4635 Buenos Aires CP1001 + 5 4 ( 11 ) 4 8 3 2 2 4 1 5 w w w. v i a u n o . c o m Zanotti Alvear 1883 B u e n o s A i r e s C P 11 2 9 + 5 4 ( 11 ) 4 8 0 4 7 2 1 2 w w w. z a n o t t i j o y a s . c o m Zitta Av. Q u i n t a n a 1 0 Buenos Aires CP1014 + 5 4 ( 11 ) 4 8 11 2 0 9 4 w w w. z i t t a c o s t u r a . c o m 925 Nueveveinticinco Honduras 4808 Buenos Aires CP1425 + 5 4 ( 11 ) 4 8 3 3 5 3 4 3 w w w. n u e v e v e i n t i c i n c o . c o m . a r