PREVIEW OF COMMING ATTRACTIONS

 

 Not only do I have a new creation for you to look at, I've developed a whole concept around this design.  Meet GIGI, the newest addition to Dioresque's 2011 capsule collection, called Oh La La!  Inspired by Paris, the 50s, The Belle Epoch and a little bit of Toulouse-Lautrec thrown in, all creations you'll be seeing in Oh La La are about pouf, frills and spun tulle.  GIGI is an A-line out of an ivory embroidered organza with a shot of ruffled lace underneath.

 This little silk, lace and point esprit fascinator is featured in the latest issue of Martha Stewart Weddings.  It's the perfect compliment to organza and lace . . .

A long row of buttons graces the back of this dress.  GIGI is actually an off shoot of this sketch for FIFI (in the works) showing a sweetheart neckline and matching shrug.  Can't wait to show off that one . . .

WHAT'S NEW IN THE GOWN GALLERY?

Boho is here. Meet the new version of MUSETTA. A mix of imported Chantilly laces on the bodice. The full skirt is silk chiffon lined in crepe backed satin. Cap sleeves and accented with a gold braid tie belt.

Want to see more images of Musetta?  Available through Etsy or custom order at Amy-Jo Tatum Bridal

A CELEBRATION OF BRIDAL FASHION

Stephanie Williams
If there is such a thing as visual poetry it is in these images. All are from a recent photo shoot I had with Orange County wedding photographer Stephanie Williams. We shot five of my gowns in various locations around San Juan Capistrano, California--including the mission. While I'm seeing more 'real wedding albums' with this sort of editorial feel, for me Stephanie's work is the quintessential. READ AND SEE MORE IMAGES . . . .

NIGHTGOWN CHIC

beyonce!!! ... by stylist to the stars featuring Jimmy Choo heels & wedges

Fortunately we're in an era when it's okay to wear a wedding gown that looks like lingerie. All the choices here echo nightgowns from the 30s-40s era therefore also look vintage, don't you think?

Untitled by noufo0o featuring Forever21 brooches

Here's another fortunately: Your options for accessorizing are many. Pair up any of these gowns with a veil or mantilla and they go classic; nearly any hat, vintage. Try a floral wreath and suddenly the gown goes Boho.

başlıksız by Revan featuring Forever21 belts

I always thank those wonderful creative people over at Polyvore who dream up these gorgeous boards. They're so inspiring and have helped me get dressed all those days I need that little extra ommph to put myself together.

NEW ON ETSY

Meet Fiona! This is an adaption of my evening gown silhouette clients love so much. Incredibly light and airy, it's made out of silk chiffon and lined in china silk (feels sumptuous on). The train is a diaphanous cloud of silk gauze dappled with tiny hand rolled organza florals.

Ordering this gown is a cinch. It can be found on my site, Amy-Jo Tatum Bridal Couture or Etsy. Best to call me 415.258.8204. I'm in The San Francisco Bay Area. I'll send out a good sized swatch of this fabric and linings. . . .

WHAT'S NEW IN THE GOWN GALLERY?

Check out the new chic from my 'Dioresque' series, a capsule collection of 1950s-inspired dresses. 'Marisol' is the first off the work table. Inspiration for this dress along with a few other gems I'm working on began when my girlfriends all chipped in and got me about 16 yards of cotton Georgette for my birthday. Yes, you heard that right, cotton Georgette. With this, I was able to make 4 samples with cinched bodices atop oodles of skirt and petticoats.

Of course the cotton Georgette was a limited run and quickly consumed by my fervent sample making. However, I tracked down some practically identical linen Georgette. Also the linen is eco-chic.

What I love about these tea-length dresses is they dress up well with accessories. We tried both hats and veils, gloves and no gloves; large and small florals, every type from carried-in-your-arms-like-a-newborn bouquets as well as those small nosegay arrangements. Just about everything works with this dress. Personally, I love the 'New Look' wide-brimmed hat swathed in tulle. These photos are already up on my website and I've had so many comments, about this hat in particular.

A little 1950s background here on bridal chic. Back then it was trendy to wear sheer dresses made out of organza or Georgette over an under bodice. Liz Taylor's dress by Helen Rose for her role in Father of the Bride is a good example of the style and one widely copied by stores and manufacturers of the time. So is the pattern below.

If you want a fascinating read on 1950s bridal couture, visit Vintage Fashion

History, a site chock-a-block full of interesting info on the origins of hourglass silhouettes like these.

BACK STORY

Rosy Garbo

Ever notice how designers add some well thought out elements to make the back of a wedding gown pop? No matter how simple your gown is, the back is going to deserve as much attention to detail as the front. All you have to do is look at your body from all angles to see one of the most dramatic views will be your back. You’ll be showing it off once you pass down the aisle and the whole time you take vows. Think of your back in components that make up a total picture of you: There’s the veil, back bodice, skirt and train. Choosing the right veil depends on the length of the gown and maybe the interest of the back bodice. You may opt for a shorter veil or no veil if there are some details you want to show off. These details can be as simple as a row of buttons all the way down the back, or as elaborate as silk flowers cascading the length of a cathedral train. How much or little detail you choose is a matter of preference.










Back details of gowns by Clarissa Grace, all variations of lace-up bodices.

Eme di EmeAsymetrical pleats and lace up bodice grace the back of this silk gown.

RS Couture Roma.A detachable silk organza train with cluster of silk florals

Amelia CasablancaA ball gown with lots of length and volume in the skirt will bustle 'big' like the one pictured above.

GalvinA very low draped back on a silk satin crepe. Simple but dramatic.

Amelia Casablanca

A double watteau train falls from each shoulder on this Grecian type gown

Amelia Casablanca Front and back, pick ups create a tufted effect on this organza skirt accented with silk florals.

Bijou by Dem.BUTTONS-A row down the back is classic; either fabric covered or pearl.

Galvin
Bling on straps and bodice accent this gown by Galvin.

ValentiniLace, a row of buttons and a train attached to the low back accent this light blue gem of a dress.

Linea Raffaelli.

A simple drop of embroidered lace at the neck is the only touch a dress this simple needs.

PUTTING IT ALL TOGETHER
If you’ve fallen in love with a particular detail you want on the back of your gown like a cluster of florals, but can’t find a gown with it in the style you want, consider two ways you can go about getting it:
1) Go ahead and order the gown then find silk flowers and someone with the skill to attach them. .
2) Have a gown custom designed.
Custom design is the best option if you have a specific back feature that ordinarily would have to be engineered into the gown rather than simply added on. Bows, florals, sashes and detachable trains can all be matched up in color and fabric and added on to a ready made gown with little or no problem. But features like back overlay skirts and lace-up bodices are usually built in and need to be planned out with a skilled dressmaker or designer. Going custom might cost more in time and the number of fittings, but you’ll get that wonderful back feature that makes the gown uniquely yours, uniquely one-of-its-kind . . .

TOUCHES OF FLORAL

Today I want to share a few photos of my favorite accents-- flowers. Whether made of silk to look like real ones or hand rolled, they add that natural and feminine chic to any gown or head piece.

Amelia Casablanca

di Alessandro

Amelia Casablanca

di Vinnì
source

WHAT'S NEW IN THE GOWN GALLERY?

EVA. The most versatile gown in my collection, I think. We amped up the glamour factor for Sarah here by adding the birdcage veil and opera gloves.

These photos are the work of Berkeley photographer, Bill Smoot. I knew if he ever photographed my collection, each piece would have that editorial/fine art feel to it. Bill is actually a fine art as well as wedding photographer. As a result, his photographs seem more like moments in time rather than the proverbial posed portraits you find in so many wedding albums. More can be seen on his site www.smootphoto.com

Hair: Gayle Parker

Gown and accessories: Amy-Jo Tatum
Model: Sarah Ashton

YOUR SILHOUETTE

Photo by Henley Photography +
Admit it, this cotton eyelet dress is about as hourglassy as you can get. Whether you go flared or straight up and down, the silhouette you choose is going to be the foundation of your look—the first impression you create once you make your entrance, dance your first dance, cut the cake. The right silhouette creates a positive visual chemistry. Something like a light turned on, illuminating the unique beauty of your female form. There are three basic silhouettes: the sheath, the ball gown and A-line. Within each of these big three derive a few variations deserving closer examination. Read this article . .

MORE ABOUT CUSTOM DESIGN

There are FAQs I get all the time. My email box is proof the two most frequently asked are: 1.) How long does it take to create a custom designed gown? and 2.) How much does it cost?
OH HOW LONG OH LONG MUST I WAIT?
We designers put in oodles of hours and a high level of craftsmanship when it comes to creating one-of-a-kind gowns. Working with fragile, white fabric and delicate laces is an art form. Add to that keeping those fragile laces intact and white gowns looking fresh through fittings. Figure a gown hand-crafted by a designer usually takes 4-6 months to complete from a listing of your measurements. The greatest thing about custom design is that you'll have more of a one-on-one collaboration with the designer and input on any choices of fabric, silhouette and overall style.
WILL MY CUSTOM DESIGNED GOWN COST ME THE DOWN PAYMENT ON A HOUSE?
Chances are, no, unless you order Lady Di's silk taffeta gown with the 25 foot train and layers of uber-pouf. Most custom designs run neck and neck with the prices you'll find in better salons. Custom designers usually work all the materials and labor into the price of the garment. Prices can range from, $1000.00 for something simple and unadorned up to $10,000.00 for the works: full trains, petticoats, underskirts, bustles, intricate beading, etc. Medium price range for a custom wedding gown as of this writing writing would be around $2500.00-5000.00.

Overall, brides are happy with custom design because of the leeway it offers. Where and in whose bridal collection can you find cotton wedding dresses these days? Or suits? Or two-piece dresses? Or convertable gowns? Custom design is optimal for the bride who wants some individual touch not offered in salons or boutiques.

THE PROCESS
The designer/client relationship is one that's very special so enter with care. Just like any relationship you must be in simpatico. In simpatico first with the design vision and then with your working relationship. You can help by bringing photos, magazine clippings, sketches or swatches of fabric to the initial consultation. All your ideas are discussed with the designer running a few ideas back to you. Choices and cost of materials, fabrics and a few other details are usually explored. If the designer has a small sample collection, this is usually when you can begin trying gowns on to see what the fabrics are going to look and feel like with you in them. This is the time too to look over how well the samples are made. Don’t worry about whether or not you know haute couture techniques here—just pull up a hem or look at the inside of one of the garments and you’ll know if its cleanly made and as beautiful on the inside as out.

THE MUSLIN
Eventually, a gown is in the making. After a final sketch is approved, a written estimate follows, complete with fabric swatches and your measurements are finally taken. For every gown order, a paper pattern is made. Think of the paper pattern as a blueprint, a record with all your dimensions on it. From this, most designers (some dressmakers too) work out a muslin. A muslin is an actual cotton mock-up and ‘living pattern’ of the gown design, fitted exactly to your body. Now, think of the muslin as the foundation work—laying all the necessary groundwork upon which your dress will be built. This is where most of the fine-tuning is done to get the perfect fit before one cut or stitch goes into the true gown fabric(s).
After your muslin fittings (there may be two of them), the muslin is unstitched and laid out on the actual fabric and the gown is made up. Since most of the fitting is worked out on the muslin, second and third fittings usually follow up with finishing touches on the gown like, final hemline, closures, remaining design details, etc. Be prepared for more than three fittings though. A gown made from the ground up is a work in progress and each step along the way is painstakingly taken, checked and rechecked. Keep in mind you want your gown delivered at least a month before your wedding. Yes. You need to synchronize your calendars on this one. You want to be able to relax and deal with all those other last minute details involved in your wedding, not still fussing around over hemlines.

If you want to view some awesome samples of custom design, visit my new pages at http://amyjotatum.googlepages.com

UP AND DOWN: ALL ABOUT TRAINS AND BUSTLES

Back in the Middle Ages when fabric was in short supply, the length of one’s train conveyed a person’s wealth and standing. For Victorians, bustling the train was considered an art form with all kind of intricate floral and lace treatments. Today a gown with a train still suggests formality; typically the longer the train, the more formal the wedding. So what is a train exactly? A train is that extension in the back of the skirt that follows when you move. Read more

WHAT'S NEW IN THE GOWN GALLERY?

Imagine the formality of an elegant silhouette with all the ease of informal cotton. Here's my 'Daisy' dress in a pure white eyelet. I love this fabric. Every bride who has tried it on says its so comfortable. Audrey Hepburn as Sabrina was my original inspiration for this design. The bateau neckline pictured above was actually renamed after this character from the mid-1950s movie. The rest of the dress is a classic A-line with a to-the-floor skirt held out by layers of petticoat. I topped it off with one of my shorter veils reminiscent of 50s-60s brides.