Sunday 4 September 2011

    Kate’s gypsy wedding ~ it’s bea-u-tiful.


    Kate Moss ~ her Great Gatsby inspired fairytale wedding with help from the ColorPop Events NYC wedding planners. She looks an ethereal waif when she married Jamie Hince.

    When Kate appears in her Galliano finery, with her flotilla of bridesmaids and flower girls in their Bonpoint dresses, there are wolf whistles and applause in the church.


     … how do you catch a cloud and pin it down? Who would, in the words of David Tang, Kate’s wedding-day master of ceremonies, succeed in “persuading not the most easily persuadable girl to marry him”?

    Enter Jamie Hince, the 42-year-old guitarist of the critically acclaimed rock band the Kills, who rocks his collings guitars every time he plays.

    The floor-length vintage lace gown was designed by long-time friend and collaborator, John Galliano,

    accessorized with a veil and custom Manolo Blahnik heels (complete with “something blue”—an insole).

    And the romantic event was captured by Vogue’s Editor Hamish Bowles. Enjoy these excerpts…

    :: the love story 

    After a romantic trip to Thailand two years into their liaison, Kate recalls, “we were just so loved up, and he asked me to marry him every day.” But it was curling up together in front of the compelling British television documentary series Big Fat Gypsy Weddings that appears to have sealed the deal.

    “I am so romantic about Gypsies,” Kate explains. “They’re not allowed to do anything until they get married. So they all get married really young, at sixteen. You can’t believe the dresses. They’re like blinging butterflies times ten; they can’t move down the aisle! It’s so genius. I was just watching Jamie, so cute, and I was like, these girls, they just spend their whole life waiting for that day—let’s do it!”

    :: the dress

    She wanted “a classic Galliano, those chiffon thirties kind. I’ve lived in his dresses for years, and they just make me feel so comfortable. But it’s so much more couture, couture, couture. Oh, my God, the work that’s going into the dress!” They discussed everything on the phone, and then, when John was out of rehab for the first of four marathon fittings, he brought her “bags full of bits, and pulled tulle and sequins and veils and flowers out. And then we just kind of pinned things together, like the old days, you know?”

    Galliano was inspired by Jazz Age photographs of Zelda Fitzgerald…. The dress is spangled with tiny golden paillettes… The skirts are symbolically licked with the beaded plumes of a mythical phoenix, “delicate and defiant, like Kate.”

    At 37, she looks ravishing; she attributes her honed form to Jivamukti yoga. “They call it moving meditation,” she says. “It’s loud, loud music, so it’s dynamic, not boring.”

    She wore a slim cut silk Galliano designed wedding gown with a crystal beaded hem, sleeveless, v-neck cut, and overlay with a sheer chiffon.There were sixteen bridesmaids and flower girls, ages two to fourteen.

    :: the setting & styling

    Mario photographed the couple for Vogue at a magnificent seventeenth-century Cotswolds mansion. “I so want a stately home,” sighs Kate, admiring the rolling Capability Brown landscape.

    Kate has called on her friend Sam Gainsbury to realize her vision. With partner Anna Whiting, Gainsbury has produced fashion shows and shoots for some of the most exciting talents around (and, with Joseph Bennett, created the transportingly beautiful mise-en-scène for “Alexander McQueen: Savage Beauty,” at the Metropolitan Museum of Art). “Sam is a genius,” says Kate, “but this is the first and last wedding she said she’s ever doing!”

    Kate had originally wanted to get married in the enchanting twelfth-century church at the bottom of her garden, but as it proved too small even for her intimate wedding party (138 guests have been invited to the church ceremony; 39 of those are children), she decided on St. Peter’s Church, in the neighboring village of Southrop, where Lila Grace, her eight-year-old daughter with journalist Jefferson Hack, was christened.

    “I wanted it to be kind of dreamy and 1920s, when everything is soft-focus,” says Kate. “The Great Gatsby. The code name was GG for a while. That light and that kind of fun decadence. It’s rock-’n’-roll Great Gatsby!” There will be Edwardian marquees in her field and a circus tent for the children, with a miniature drum kit and their own DJ and tepees for them to sleep in. A stage is being built by hand, “which I’m going to keep for festivals for the future,” she explains.

    It is a perfect English summer day with cotton-wool clouds scudding across forget-me-not-blue skies. Chez Kate, the roses tumbling over the doorways are in full bloom. Inside the house, a tumbling chaos of hair and makeup people with Sugarlash Pro lashes put on and bridesmaids reigns. The bridal party takes off in a convoy of beribboned vintage Rolls-Royces driven by gray-uniformed chauffeurs. Just before she sets off, Kate requests “a few words, a story to inspire her—she loves a bit of direction!” says Galliano. “I told her, ‘You have a secret—you are the last of the English roses—and when he lifts your veil he’s going to see your wanton past!’ ”

    At the idyllic church, Victoria Brotherson has arranged low banks of pale, feathery greenery and white flowers—delphiniums, daisies, scabious, and sweet-scented stock—to line the path to the church door and embower its entrance. The effect is enchanting: a scene out of Thomas Hardy. Similar flowers decorate the austerely beautiful interior with its high rustic beams, honeyed stone corbels, and whitewashed walls. Naomi, in a flurry of lemon-yellow Givenchy gauze, is the last to arrive, so all is right with the world (“Trying to upstage me, bitch?” says Kate, laughing).

    Click here for the exclusive video inside Kate Moss’s wedding.

    In Kate’s gardens, a Palm Court jazz band is playing “It Had to Be You” in the marquee, while battalions of black-and-white-clad wait staff light the votive candles hanging from fruit trees in their jam jars and antique lanterns, and artfully arrange a pyramid of champagne flutes. Paper cones filled with rose petals for the bridal couple are arranged on little café tables, and antique wicker chairs pepper the lawn. The Second Looks Tent, for guests to change in after the ceremony, is appointed like a Hollywood boudoir with faceted mirror screens, thirties standard lamps, and dressing tables heaving with pink and beige roses.

    Inside, the dining pavilion is lit by Victorian chandeliers, and 1920s silver ashtrays nestle on the tabletops among the nosegays of pale apricot and lilac roses, while Chesterfield sofas and Edwardian palms flank the dance floor—a setting fit for a latter-day Daisy Buchanan.

    Colin Field and his team from the Bar Hemingway at the Ritz Paris set up a bar on the dance floor and serve the Kate 76, a lethal cocktail of vodka, champagne, crushed ice, and sugar.  After dinner, Kate and Jamie cut Peggy Porschen’s cake—actually a pyramid of six cakes, each a different flavor, crusted with droplets of icing-sugar lily-of-the-valley blossoms.

    Kate Moss, Vogue US September 2011

    {Photos: Mario Testino/VOGUE via}

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