September 16, 2016

{The un-Fashion of Weddings}


When I worked at Vogue in the 1970s, you would have never seen a headline in the magazine like these that I’ve recently read online at Vogue Daily: “Dream Wedding Inspiration” or “The 41 Most Memorable Model Weddings” or “How To Surprise Your Groom on the Wedding Day” or “Is It Ever Okay to Tell A Bride You Don’t Like Her Dress?” or any number of Vogue’s image-rich reports of beautiful weddings and their fanciful designer gowns. Weddings were simply not fashionable news in the 1970s! (And if you’ve read my latest book, The End of the Fairy-Tale Bride, you’ll know why—plus learn lots of fascinating bits of bridal history!)

However, since the 1980s (since Lady Diana Spencer’s royal nuptials as well as Martha Stewart’s reinvention of entertaining) weddings have been back in the news—fashion, society, even business news! And the trend is even more ubiquitous today. Perhaps it’s part of our modern “media culture” and its penchant for broadcasting all things personal: our ‘need’ to be seen, to be known, to be in the spotlight—our selfie-ness.

If you’ve been involved in planning a wedding in the last three decades or so, then you’ve been part of this “fashion”—designer gowns, designer cakes, designer favors. Nonetheless, ‘tis important to remember that weddings are about relationships. So in an attempt to be “fashionable,” let’s not forget the things that never go out of fashion! Like kindness. As the Persian poet Rumi shared long ago: “Your acts of kindness are iridescent wings.” (Très chic!) ~

[Photograph courtesy of Vogue Daily]

August 14, 2016

{The Promise of Wedding Vows}


My article, “The Promise of Wedding Vows”—highlighting the 35th anniversary of the momentous wedding of Princess Diana—was just published on Huffington PostThis royal event not only changed the culture of weddings worldwide, but also came at the time when the world of women was in a great consciousness shift. 
Plus, the article is an excerpt from my latest book, The End of the Fairy-Tale Bride {Volume One} For Better or Worse, How Princess Diana Rescued the Great White Wedding.

Enjoy! Here’s the link.

July 27, 2016

{Heart-Centered}


Dear Bride-to-Be
“To be ‘on edge,’ you are literally not centered—not being in your spiritual center,” poet Carrie Latet once said. Planning a wedding can be one of the most “on edge” times. With all the commercial hype, canned traditions, and tantalizing nonsense out there, it’s an extra daunting time for the bride and/or the mother of one doing the planning.

What are you doing to stay centered in your heart, grounded in your love during this busy time—a time that’s also very pivotal in deepening your relationship? I’ve often said that when a woman becomes a bride her intuition is heightened, her insights sharpened—IF she stays heart-centered! And there’s the rub. We must be willing to have a still mind—or at least moments devoted to inner and outer quietness and stillness—otherwise we can’t “hear” our intuitive signals, those angelic whisperings and soulful nudges that keep us centered right where we lovingly want to be!

Love. Listen. Let go.
…with love from Cornelia


ps: This is an excerpt from my book, The End of the Fairy-Tale Bride: For Better or Worse, How Princess Diana Rescued the Great White Wedding. Available on Amazon.

[Photo courtesy of Vogue Daily]

July 1, 2016

{A Dress Reimagined}


In celebrating the current Vanderbilt family wedding exhibition at the Legacy museum on Biltmore Estate in Asheville, North Carolina, I’ve written several articles about the treasures on display. One is the recreation of Cornelia Vanderbilt Cecil’s 1924 wedding gown and veiling by Cosprop Ltd. London (of Downton Abbey fame!)

Here’s another version of that fascinating story just published in the summer issue of Season magazine….and I’ve reprinted it here for you to enjoy. This one gives a bit of background about my former vintage bridal shop, its Downton Abbey connection, and my love of old lace. Would like to hear what you think!


A Dress Reimagined
by Cornelia Powell

Those of you who visited my former bridal art-to-wear shop in Atlanta in the 1980s and ‘90s would remember the lovely one-of-a-kind dresses made from vintage laces. The shop’s designers used found pieces of original materials: beadwork, laces, embroidery and remnants from beautiful old gowns that often became the starting point for a new dress, adding richness and gravitas that only “something old” could do. (“Elegant recycling” is how one of my designers described the process.) 

Downton Abbey’s designers relied on similar techniques for many of their costumes including 1920s-era wedding dresses for the Crawley sisters. (Something you already knew if you’ve attended one of my costume talks!) Designer Caroline McCall combined vintage lace panels with new silks to make the column-shaped bridal dress for Mary’s first wedding; then an antique hand-beaded satin train she’d found became the design inspiration for Edith’s dress for her “almost wedding” in season three. In the show’s romantic finale, designer Anna Robbins used a collage of vintage Brussels laces to create Edith’s “happy ending” bridal gown.

What if the lost wedding dress of a famous heiress needed such superb designer attention? Cornelia Vanderbilt married on her family’s grand Biltmore estate in 1924, but years later her satin wedding pumps—aged to a creamy patina and still trimmed with sprigs of fabric orange blossoms—were all that remained of her costume. So, with an exhibition in mind, Biltmore commissioned legendary costumier John Bright at Cosprop, Ltd. London—of Downton Abbey fame—to recreate Cornelia’s lace and silk wedding ensemble.

Once Leslie Klingner, Curator of Interpretation, and her team at Biltmore gathered archival photographs and newspaper clippings with descriptions of Cornelia’s dress (details of her wedding had filled society columns worldwide), the transatlantic “reimagining” project was on! After a year of planning, conference calls, lace and fabric samples going back and forth between London and Asheville, NC—plus seven weeks of cutting and sewing by a team of five—Cornelia’s dress and veil were, indeed, beautifully reimagined.

Cornelia Vanderbilt Cecil’s original gown was the stylish “tabard” fashion of the 1920s: a lace tunic over a silk slipper-satin, long-sleeve sheath (a design that influenced the gown for Downton’s Lady Mary.) From the photographs, the lace of Cornelia’s gown, with its distinctive floral pattern, appears to be an exquisite Duchesse; but fine lace yardage from that era is rare, so Cosprop cleverly repurposed an antique lace shawl and, although the pattern varied from the original, the proportions were perfect! Cosprop also recreated Cornelia’s lace headpiece and voluminous veiling—which had included her maternal grandmother’s rose point heirloom veil—by appliquéing hand-cut vintage lace motifs onto yards and yards of custom-dyed tulle.

Cornelia’s recreated wedding ensemble is now on display at Biltmore’s Legacy Museum. To me it’s a lovely reminder how, in the hands of inspired designers, bits of vintage laces and trims can be “reimagined” to enchant us still. ~

[Top and bottom three images courtesy of The Biltmore Company]