Slim-line beauty: Elizabeth Emanuel's vision for Kate's big day
When I heard that Prince William had proposed to Kate Middleton, I thought it was absolutely fantastic news — just what the country needs to cheer us all up after all the doom and gloom.
The fact he’s given Kate his mother’s engagement ring gave me goose pimples. It’s going to be so romantic.
Naturally, I was cast back instantly to the day 30 years ago when my now former husband David and I were asked to design Diana’s gown and the huge responsibility we felt to create something truly special.
It was such a lot of pressure — especially as David and I were fairly new designers.
As she got engaged in October, I’d be very surprised if she doesn’t know already who is designing the dress.
As the wedding is in spring or summer, many people might think that’s not enough time. But we took only three months to make Diana’s, with just three people working on it, so Kate doesn’t need to panic — she has plenty of time.
The first thing her designer must remember is that though they are creating something that will be seen by millions, there is only one person who needs to be happy with it: Kate
I’d advise them to go through lots of design and history books to come up with plenty of ideas. It may not be what the public is expecting, but sometimes it’s good to think outside the box.
With Diana, the first thing we did was try on lots of different styles. It’s imperative to be able to see how you suit different silhouettes and I hope that Kate does the same.
We settled on a design with a tiny waist and big skirt, but all brides must get a feel of what she’s comfortable in.
I imagine Kate will steer well clear of a big, bouffant dress. Diana’s was all frill and flounce, and while it was absolutely perfect for the Eighties, it wouldn’t be suitable now.
Back then, it was all about wild romance, and every bride’s dream was to wear something frothy.
My design for Kate’s dress is simple with a layer of complexity. I’d make it in an off-white silk — I hardly ever use bright white because I think it’s unflattering — in a moss crepe that has a heavy drape when cut on the bias.
I’ve not seen crepe used often in bridal wear — most brides stick to taffeta or satin — but crepe creates a flattering, slim-line silhouette.
I wouldn’t give her sleeves, but I’d put a silk organza drape over the shoulders to keep her sufficiently covered over the top half. I would apply a lace applique over the drape to make it more detailed.
Then I think it would be lovely to include a beautiful brooch, perhaps something from the Royal Family’s collection.
Kate could add a personal touch by having something dear to her, such as a name or favourite flower, embroidered into the lace.
Everyone remembers the aerial shot of Diana walking down the aisle with that 25ft train behind her.
I don’t think Kate’s dress would be a crazy length like Diana’s.
But then again, if she is getting married somewhere like St Paul’s Cathedral, then maybe we would make it a bit longer.
The train I have designed for her is detachable and falls from the hips, and would be covered in a cascade of lace mounted on tulle to give it a bit of body.
I’d take the scallops off the edge of the lace and put them on the edge of the shoulders so there are no straight edges, in order to keep the wistful, romantic feel.
Right now, the chosen designer will feel the pressure of the world on their shoulders, but they must keep calm and focus on Kate.
When we were designing Diana’s dress, we thought there would be a lot of protocol, but there wasn’t.
We were left completely on our own. It was lockdown — we had to have blinds up at the windows and we had two security guards called Jim and Bert at night.
I don’t think the Palace realised what a big deal it was going to be. They were unprepared for the level of interest.
Any designer would love to design for a royal wedding, and David and I were very lucky.
Kate’s designer will have a few sleepless nights from now until the wedding, but my advice is to enjoy it — it will be magical.
source:dailymail
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