The Way We Wed by Kimberly Chrisman-Campbell

Author:Kimberly Chrisman-Campbell [CHRISMAN-CAMPBELL, KIMBERLY]
Language: eng
Format: epub
Publisher: Running Press
Published: 2020-12-02T00:00:00+00:00

PUSHING BRIDAL BOUNDARIES

Galliano created a very different gown for Gwen Stefani’s wedding to Gavin Rossdale at St. Paul’s Church in London in 2002. The bride told the Dior designer she wanted something “over the top, but not traditional.” For the No Doubt singer, who had famously dyed her hair hot pink in 1999, he created a look worthy of a rock star, spray-painting the skirt of the white silk faille gown with an ombré pink dye. Though the long gown was trained and corseted, and Stefani wore an antique lace veil in her platinum blond hair, its aesthetic was more deconstructed than constructed. It looked as if it had been twisted and torn from the body with an artful asymmetry. The corset hooks careened off to one side, the tulle neckline fell from one shoulder, and the bodice peeled away in back, exposing the corset lacings. Stefani wore the gown again two weeks later, when the couple renewed their vows in a ceremony in Los Angeles, then loaned it to the Victoria & Albert Museum, saying it was “a work of art. It needed to be seen.” Stefani’s pink gown started a celebrity microtrend, as shades of pink—from blush to ombré to cotton candy—began appearing in social media friendly wedding photos. Julianne Moore wore a pink gown in 2003; so did Reese Witherspoon in 2011; Blake Lively, Anne Hathaway, and Jessica Biel in 2012; Kaley Cuoco in 2013; and Mandy Moore in 2018. Feminine but not traditional, subversive but not shocking, pink emerged as a photogenic and flattering alternative to white, which is no longer expected to signify virginity.

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