Vera Wang “I wanted to explore translucency and movement, and obviously color, but in a new way,” she explained. “In order to ignore certain ‘bridal’ dictums, like white, beading, acres of lace, and traditional ball skirts.” Drawing inspiration from the canvases of Dutch master Johannes Vermeer, she delivered romanticism with a touch of edge.
With books, songs, and films (Girl with a Pearl Earring, anyone?) devoted to Vermeer’s mystique, it makes sense that Wang would be influenced by his work, too. She honed in on his use of color and light, from a subtle burst of magenta peaking out from beneath a train to neon grosgrain bows and a crimson corseted gown. Hand-painted by Rebecca Moses, the frottage detailing was a time-consuming process, but one Wang considered necessary. “That’s the only way to achieve a luminous, painterly effect—imperfect, but nuanced.”
Broadening her scope with a series of tulle-heavy pieces that nodded to the costumes of the Ballets Russes, Wang kept up the momentum by focusing on movement—an idea evident in Inez and Vinoodh’s photographs of the collection. With dance being a key component of most weddings, one has to wonder why more designers don’t consider movement in their designs. By keeping things airy and artsy, Wang was at her best.
