Jenny Packham Bridal Spring 2015

Jenny Packham’s spring 2015 collection proved once again that the designer creates bridal fashion with “every woman” in mind.

Model Marquita Pring, approximately a size 14, was the first to hit the runway proving Malone’s point. Pring, a popular curvy girl model, was perfect pick to embody Packham’s theme of “The Goddesses” inspired by the photographic portraits of society women made by the Madame Yevonde of Britain in the 1930s.

Goddesses, in the classical sense, are curvaceous, voluptuous women, and Packham’s gowns of silk chiffon and featherweight tulle were truly ethereal creations worthy of any modern-day Venus, Athena, or Helen of Troy.  There were lots of off-the-shoulder designs and deep V necklines, emphasizing the neoclassical influence.

Packham’s color palette, based on Madame Yevonde’s work with soft romantic lighting, with names like buttermilks, champagnes and warm blush caramel tones, described the movement as well as the color effects of her gowns.  The beading and crystals combined with color palettes of antique metallic silver, molten gold and rich alabaster rendered a modern perspective to the collection.  And some of the delicate beadwork sparkled like jeweled cobwebs, or vertical placement of patterns giving the impression of a trellis of climbing flowers.

For “The Formal Bride” the gown worn by Pring was perfect:  a A–line gown with sheer long sleeves to conceal any arm issues and an empire waist elongating the body, with sprinkles of sparkling beadwork on the front and back but stopping mid-thigh to allow the eye to rest upon the fluid hemline.

For “The Country Club Bride” seeking clean lines, two standout gowns were pure whites, including a sweetheart gown with a sheer cape covering the shoulders, while a sparkling brooch centered at the breastbone took center stage.  The other was a flowing gown with a pleated sweetheart bodice with a dazzling broach strategically placed under the left breast.

For “The Sexy Glamour Bride” a standout selection was Packham’s white gown with cap sleeves fluttering like small wings with rows of flower petal-like material and a high slit up the center. And for the “Bohemian/Vintage Bride” there were several round neck short-sleeved mini-dresses.

—Francesca Simon