Monday 27 August 2012

more teepee ♥

Bohemian wedding inspiration ~ The bride is Spell from the Australian blog “Spell and the gypsy collective”.

    just so pretty…

    {Images: the beautiful photos are captured by Beck Rocchi  and visit  bohemian inspiration to see more.}

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    Sunday 26 August 2012

    sunday grace


    Grace isn’t a little prayer you chant before receiving a meal. It’s a way to live.

    {Image: Princess Grace wedding day}

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    Wednesday 2 May 2012

    moody beautiful


    And she walked gracefully in a voluptuous dress across a geometric mosaic floor….

    {Image: James Harvie Photography ~ Melbourne studio}

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    Friday 13 April 2012

    happy birthday mr


    Birthdays are for celebrating and remembering the happiest moments of your life.

    It’s a day to celebrate D’Lovely turning another year older!

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    Thursday 12 April 2012

    Christian Lacroix :: Irving Penn


    More white :: Lace & Lacroix & Irving Penn ~ many of my favourite things!

    “The Glorious Tradition”

    Shalom Harlow in Christian Lacroix by Irving Penn for Vogue US December 1995

    {Image via bienenkiste}

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    Monday 27 February 2012

    winter white wedding


    A beautiful snow white wedding in the woods ~  inspirational pictures by Jenny Haas Photography.

    {Images by Jenny Haas, click to more}

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    Wednesday 8 February 2012

    sexy white


    Cara Delevingne & Lily Donaldson for W Magazine January 2012

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    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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    Saturday 30 April 2011

    The Windsor Knot


    Princess William of Wales, Duchess of Cambridge was a classic beauty in an ivory lace gown for sweet William.

    Royal Wedding of HRH Prince William to Kate Middleton,

    the Duke and Duchess of Cambridge

    Marriage should transform as husband and wife make one another their work of art. It is possible to transform so long as we don’t harbor ambitions to refault (ph) our partners. There must be no coercion if the spirit is the flow. Each must give the other space and freedom.

    Chaucer, the London poet, sums it up in a pithy phrase.

    “When mastery cometh, the god of love anon beated his wings. And farewell, he is gone.”


    Catherine Middleton, now the Duchess of Cambridge, stepped out of the car in a long white gown with long white lace sleeves, reminiscent of the one that the actress Grace Kelly wore to wed the Prince Ranier III of Monaco.

    The long white gown designed by Sarah Burton for Alexander McQueen was made of ivory and white satin gazar, the skirt resembled “an opening flower” with white satin gazar arches and pleats.

    The lace appliqué on the bodice and skirt was hand-made by the Royal School of Needlework. Individual flowers were hand-cut from lace and hand-engineered onto ivory silk tulle.

    Kate’s bridal flowers contained a touching tribute to her husband

    ~ her bouquet includes sweet William, lily-of-the-valley, hyacinth &

    studded with a traditional sprig of myrtle grown from the original bush of Queen Victoria’s wedding bouquet.

    Miss Middleton chose British brand Alexander McQueen for the beauty of its craftsmanship and its respect for traditional workmanship and the technical construction of clothing.  Miss Middleton wished for her dress to combine tradition and modernity with the artistic vision that characterises Alexander McQueen’s work.  Miss Middleton worked closely with Sarah Burton in formulating the design of her dress.

    The design

    The lace appliqué for the bodice and skirt was hand-made by the Royal School of Needlework, based at Hampton Court Palace.  The lace design was hand-engineered (appliquéd) using the Carrickmacross lace-making technique, which originated in Ireland in the 1820s.  Individual flowers have been hand-cut from lace and hand-engineered onto ivory silk tulle to create a unique and organic design, which incorporates the rose, thistle, daffodil and shamrock.

    The lace work was carried out at the studios of the Royal School of Needlework (RSN), at Hampton Court Palace by embroiderers aged from 19 to in their 70s. They had to wash their hands every 30 minutes to keep the lace and threads pristine, and the needles were renewed every three hours, to keep them sharp and clean.

    Hand-cut English lace and French Chantilly lace has been used throughout the bodice and skirt, and has been used for the underskirt trim.  With laces coming from different sources, much care was taken to ensure that each flower was the same colour.  The whole process was overseen and put together by hand by Ms Burton and her team.

    The dress is made with ivory and white satin gazar.  The skirt echoes an opening flower, with white satin gazar arches and pleats.  The train measures two metres 70 centimetres.  The ivory satin bodice, which is narrowed at the waist and padded at the hips, draws on the Victorian tradition of corsetry and is a hallmark of Alexander McQueen’s designs.  The back is finished with 58 gazar and organza covered buttons fastened by Rouleau loops.  The underskirt is made of silk tulle trimmed with Cluny lace.  Her shoes of satin with hand-embroidered lace were also made by Sarah Burton for Alexander McQueen.

    The veil is made of layers of soft, ivory silk tulle with a trim of hand-embroidered flowers, also by embroidered by the Royal School of Needlework.  The veil is held in place by a Cartier ‘halo’ tiara, lent to Miss Middleton by The Queen. The ‘halo’ tiara was made by Cartier in 1936 and presented to Princess Elizabeth (now The Queen) by her mother on the occasion of her 18th birthday.

    The Bride’s earrings, by Robinson Pelham, are diamond-set stylised oak leaves with a pear shaped diamond set drop and a pavé set diamond acorn suspended in the centre.  Inspiration for the design comes from the Middleton family’s new coat of arms, which includes acorns and oak leaves.  The earrings were made to echo the tiara.  The earrings were a personal gift to the Bride from her parents for her Wedding Day.

    Robinson Pelham also designed a pair of diamond earrings for Miss Philippa Middleton.  These earrings are more floral in nature to compliment the headpiece worn by Miss Philippa Middleton during the Service. A tourmaline and diamond pendant and matching earrings have been designed and made for Mrs. Carole Middleton.  Two gold stick pins, one with a single gold acorn at the head and the other with an oak leaf, are also worn respectively by the Father of the Bride, Mr. Michael Middleton, and the Bride’s brother, Mr. James Middleton.

    The bouquet ~ Kate’s shield-shaped bouquet was designed by Shane Connolly and symbolises a collaboration of special meaning for the Royal family and the Middleton family. The significance /meaning of the blooms chosen: Lily-of-the-valley – Return of happiness; Sweet William – Gallantry; Hyacinth – Constancy of love; Ivy – Fidelity; marriage; wedded love; friendship; affection; Myrtle – the emblem of marriage; love.

    Sister and maid of honor Pippa wore a cream fluid silk dress by Sarah Burton for McQueen, with a cowl neck and a row of small buttons running down the back. The Bridesmaids’ dresses were created using the same fabrics as the Bride’s dress and hand-finished with delicate English Cluny lace, visible under the skirts, and four layers of net underskirt.  The puff sleeves and neckline are trimmed with the same English lace as the Bride’s underskirt.  The backs have been finished with the same button detail. As a special memento, the Bridesmaid’s name and the date of the wedding have been hand-embroidered onto the lining of each dress. In case the day was cold, waist-length capes were made from ivory Yorkshire wool, edged in fine English lace and tied at the front in the same satin gazar as the dresses. The classic Mary Jane style shoes were  made made by Devon-based Rainbow Club from satin and finished with a Swarovski crystal buckle.

    The Queen: Her Majesty The Queen wore an Angela Kelly designed single crepe wool primrose dress with hand sown beading at the neck in the shape of sunrays. Matching double crepe wool tailored primrose coat. She designed the matching crepe hat with hand made silk roses and apricot coloured leaves. Jewellery:  Queen Mary’s True Lovers Knot broach.

    The Mothers: Mrs. Carole Middleton is wearing a sky blue wool crepe coatdress with matching satin piping and passementerie at the waist and cuff over a sky blue silk shantung ‘Sydney’ day dress with short pleated sleeves and pleated pockets.  The dress and coatdress are by Catherine Walker.  Mrs. Middleton’s hat is by Berkshire-based Jane Corbett. Her Royal Highness The Duchess of Cornwall is wearing a champagne silk dress and a duck egg blue and champagne coat designed by Anna Valentine

    {Images via Daily Mail, The Telegraph, Telegraph Fashion. Official photos taken in Buckingham Palace’s throne room. by Hugo Burnand/Clarence House}

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    Friday 29 April 2011

    so much fun


    all the memorabilia ~ some quirky souvenirs.

    royal wedding tin

    To celebrate the wedding of the decade, Biscuiteers created a limited-edition tin fit for a future king. It’s a veritable fanfare of regal-inspired treats: bejewelled crowns (his and hers), the royal glass coach, Union Flags, exquisite sparkly heels, a beautiful designer wedding dress, the world famous engagement ring and even a fabulous three tiered commemorative wedding cake!

    KATEA & WILLIAM ~ Greeting card with 2 teabags

    {Images via 1. Biscuiteers 2. Donkey 3 & 4. 100 Layer Cake}

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