At Anne Barge, as in the bridal market in general, silhouettes evolve oh so slowly (with trumpet and poufy princess shapes predominating); change is created through materials and embellishments. Creative director Shawne Jacobs’s use of velvet trim (notably on a vine-covered dress called Luca), her texture play, plus the inclusion of a few sleeved dresses, signaled that this was a Fall/Winter lineup. It’s most distinctive characteristic was structure. These were not floaty dresses for flower-crowned bohemians or barefoot brides. (There was a real-life Cinderella moment, though, when a model lost a single shoe.)
Jacobs fashioned many gowns of mikado, a stiffer fabric, and she didn’t hide the boning in form-sculpting corset bodices. “I’ve always had a love for interesting seams and how they enhance the female body,” said Jacobs post-show. She also revealed that she had studied architecture before turning to design, which explained why looks had names like Eiffel, Eames, Zaha, and Renzo, each referencing an innovator in that field.
Like buildings, a wedding dress must work from all angles as the bride is not always facing her guests. Besides trains, back interest was created with details like big bows. A stretch crepe number had an embellished back bodice that extended to the shoulders. A dress with a 1950s couture-like volume was gathered on the side with oversize buttons. There were also closer-to-the-body Sabrina-like options, and for the bride who knows all the words to “Let It Go,” and wants to feel like Princess Elsa, a plunge-neck gown of lace with sparkling handwork that glistened like snow.
