"I saw her (Kate Moss) across a crowded room at a fashion party in Notting Hill, and
I was stopped dead in my tracks by her laughing beauty and
preternatural elegance." - Hamish Bowles. (VOGUE)
Vogue's Hamish Bowles' words have yet created an excitement in my heart once again as I read his article on Kate Moss's wedding details. I love how he constructed his words and lines.
“I wanted it to be kind of dreamy and 1920s, when everything is soft-focus,” says Kate. “The Great Gatsby. The code name was GG for a while. That light and that kind of fun decadence. It’s rock-’n’-roll Great Gatsby!”
The photographer, Mario Testino, has known her since she was a fragile sixteen-year-old, crying her eyes out backstage at John Galliano’s first Paris show. In that dim, distant past, when a model’s success was judged by the number of changes she had in a show, Kate had been given only one outfit and was feeling unloved. Mario comforted her. “You know, in life there’s perfume and there’s cologne,” he told her. “Cologne, you have to spray every fifteen minutes. Perfume, you put a drop and it lasts a week. You’re perfume.” - Hamish Bowles.
She wanted “a classic Galliano, those chiffon thirties kind. I’ve lived in his dresses for years, and they just make me feel so comfortable. But it’s so much more couture, couture, couture. Oh, my God, the work that’s going into the dress!” They discussed everything on the phone, and then, when John was out of rehab for the first of four marathon fittings, he brought her “bags full of bits, and pulled tulle and sequins and veils and flowers out. And then we just kind of pinned things together, like the old days, you know?”
“She was very professional and very demanding,” says Galliano, who was inspired by Jazz Age photographs of Zelda Fitzgerald. He had sent a friend to a beloved vintage fair (“because I couldn’t go”), who returned with “a beautiful rosary, which I thought must have been from a fallen angel.” For John it evoked his late partner-in-design Stephen Robinson. “So Stephen is watching,” he says, “nestled in the back of the bow.”
The dress is spangled with tiny golden paillettes (Jude Law will ask him how on earth they are sewn on); in Galliano’s narrative it is as though the scullery maid had picked up milady’s fallen sequins to spangle her own dress. The skirts are symbolically licked with the beaded plumes of a mythical phoenix, “delicate and defiant, like Kate.
“She dared me to be John Galliano again,” the designer tells me. “I couldn’t pick up a pencil. It’s been my creative rehab.” - HAMISH BOWLES
Pictures via http://www.vogue.com/magazine/article/kate-moss-kiss-me-kate/#/magazine-gallery/kate-moss-wedding/6
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| Rodarte paillette coat and beaded lace dress. On Hince: Lanvin velvet. Kiss Me, Kate - Vogue by Mario Testino, September 2011 |
“I wanted it to be kind of dreamy and 1920s, when everything is soft-focus,” says Kate. “The Great Gatsby. The code name was GG for a while. That light and that kind of fun decadence. It’s rock-’n’-roll Great Gatsby!”
The photographer, Mario Testino, has known her since she was a fragile sixteen-year-old, crying her eyes out backstage at John Galliano’s first Paris show. In that dim, distant past, when a model’s success was judged by the number of changes she had in a show, Kate had been given only one outfit and was feeling unloved. Mario comforted her. “You know, in life there’s perfume and there’s cologne,” he told her. “Cologne, you have to spray every fifteen minutes. Perfume, you put a drop and it lasts a week. You’re perfume.” - Hamish Bowles.
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| Kate Moss & her bridesmaids: Kiss Me, Kate - Vogue by Mario Testino, September 2011 |
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| Father of the bride Peter Moss with Kate and her daughter, Lila Grace. Kiss Me, Kate - Vogue by Mario Testino, September 2011 |
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| When Kate appears in her Galliano finery, with her flotilla of bridesmaids and flower girls in their Bonpoint dresses, there are wolf whistles and applause in the church. “It’s the most beautiful thing I’ve ever seen in my life,” says Bella Freud, “like she just walked through some fairy garden and came out clad in that. It’s exquisite.” (From "Kate Moss: Kiss me, Kate by Hamish Bowles for VOGUE") |
She wanted “a classic Galliano, those chiffon thirties kind. I’ve lived in his dresses for years, and they just make me feel so comfortable. But it’s so much more couture, couture, couture. Oh, my God, the work that’s going into the dress!” They discussed everything on the phone, and then, when John was out of rehab for the first of four marathon fittings, he brought her “bags full of bits, and pulled tulle and sequins and veils and flowers out. And then we just kind of pinned things together, like the old days, you know?”
“She was very professional and very demanding,” says Galliano, who was inspired by Jazz Age photographs of Zelda Fitzgerald. He had sent a friend to a beloved vintage fair (“because I couldn’t go”), who returned with “a beautiful rosary, which I thought must have been from a fallen angel.” For John it evoked his late partner-in-design Stephen Robinson. “So Stephen is watching,” he says, “nestled in the back of the bow.”
The dress is spangled with tiny golden paillettes (Jude Law will ask him how on earth they are sewn on); in Galliano’s narrative it is as though the scullery maid had picked up milady’s fallen sequins to spangle her own dress. The skirts are symbolically licked with the beaded plumes of a mythical phoenix, “delicate and defiant, like Kate.
“She dared me to be John Galliano again,” the designer tells me. “I couldn’t pick up a pencil. It’s been my creative rehab.” - HAMISH BOWLES
Pictures via http://www.vogue.com/magazine/article/kate-moss-kiss-me-kate/#/magazine-gallery/kate-moss-wedding/6
