Runway Report: Spring 2010 for Brides

In tumultuous times, it can be tempting to play it safe. We tend to seek things—from homes to cars to clothes—that are smarter and subtler in style. But being so cautious can easily lead to boring, which appeals to no one. As I descended upon the spring 2010 bridal market in mid-April in New York, I feared seeing the safe and reliable. Would designers fall back on dresses that the boutiques want to buy? Would they lean on the staples—the A-line gowns in muted shades of ivory, sans frill, lace, or bead? I hoped not. There’s no better time than her wedding day for a woman to hone her personal style and find a gown to match.

While the shows weren’t brimming with over-the-top and avant-garde styles of seasons past—and there were plenty of pretty strapless A-lines—it was the gowns with the smallest hints of originality that stood out.

Though white and its many creamy shades have been de rigueur for the bridal gown since the marriage of Queen Victoria to Albert of Saxe-Coburg in 1840, the past few seasons have seen more designers experimenting with chromatic shades and tones. Carolina Herrera presented an entire collection inspired by famous artists who have featured fashion in their work, and many of the dresses revealed teases of color: a tulle-and-point d’esprit dress edged in slate blue, modeled after Edgar Degas’s ballerinas; an ivory, strapless A-line gown with pink ribbon at the gathered bodice and black lace trim on the veil, based on Francisco Goya’s Spanish flair; and an embroidered and beaded gold English net dress, inspired by Gustav Klimt’s shimmering gold-leaf paintings.

As the tides of fashion increasingly influence bridal trends, wedding gown designers seem to take and translate ready-to-wear and couture trends into matrimonial styles. Asymmetrical designs, including the one-shoulder gown, were big last market and remained prominent in spring 2010 collections. Designer Angel Sanchez took the concept even further with seams that crossed the body asymmetrically, resulting in beautiful, body-conscious looks that were at once fresh and timelessly elegant. Other designers, including Amsale and Melissa Sweet, proved that the one-shoulder gown is a lovely alternative for brides who like the strapless look but desire a bit more coverage. The asymmetrical look shows off toned shoulders and arms, but in a more remarkable way.

To keep prices down, designers kept embellishments and appliqués to a minimum. But they showed off their creativity with price-conscious alternatives such as phenomenal pleats, folds, twists, tiers, and tucks that added interest to the gowns. In place of the beading and embroidery found in her past few collections, Monique Lhuillier turned to fabric manipulation, showing tulle and lace in cascading tiers or organza delicately tucked and folded for a peplum (flared ruffle) effect.

Not every bride dreams of embellished bodices and tulle ball gowns, so designers presented a bevy of “little white dress” options. Ideal for the destination bride, non-traditional bride, or second weddings, an LWD is a fitting alternative for a more casual venue. It’s also a great second-dress option for letting loose at the reception. Oscar de la Renta showed short, chic cocktail dresses paired with gloves and white pouf hats reminiscent of mid-1940s film noir, while Amsale presented an entire collection of LWDs.

Whether you choose a dash of color, opt for asymmetry, embrace tiers and pleats, or show it all off in an LWD, this season’s gowns prove that brides can epitomize classic elegance on the big day while embracing creativity and couture trends.