For someone who once admitted she had never really imagined her wedding day, Dua Lipa has curated one of the most compelling bridal wardrobes in recent memory.
Over the course of several weeks, the singer moved through a designer line-up that included Versace, Schiaparelli, Bottega Veneta, Chloé and, ultimately, Chanel Haute Couture.
It began in Ibiza, where according to Vogue, Lipa celebrated her bachelorette festivities in a shimmering silver Versace mini dress paired with matching go-go boots.
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From there came her civil ceremony in London on May 31, for which she wore a custom Schiaparelli skirt suit complete with a sweeping white hat that paid homage to Bianca Jagger’s iconic Saint Laurent wedding look from 1971.
The celebrations then shifted to Sicily where Lipa welcomed guests in a custom Bottega Veneta leather gown woven with the house’s signature intrecciato technique and finished with a skirt of white ostrich feathers.
The following morning, she stepped out in a gorgeous sheer lace Chloé dress which could almost cure a hangover on sight, accompanied by a whimsical swan-shaped handbag.
However, the bridal trousseau reached its crescendo in the form of Chanel Haute Couture.
Yesterday, Lipa shared the first images of the Chanel gown she wore to marry Callum Turner during the couple’s wedding celebrations at Villa Valguarnera in Sicily.
Photographed by David Sims against the grandeur of the 18th-century estate, the images capture a bridal look that feels both unmistakably Chanel and entirely in keeping with Lipa’s own fun fashion sensibility.
From the front, the silhouette appears deceptively simple. A halterneck neckline frames the shoulders before falling into a streamlined silhouette embellished with delicate embroidery. Turn around, however, and the full scale of the craftsmanship reveals itself.
An intricate open back gives way to a dramatic feather-dappled train, while a feather-trimmed headpiece sits beneath a sweeping embroidered veil.
According to Chanel, the gown was handcrafted at the house’s historic ateliers at 31 Rue Cambon in Paris and brought to life through the work of several of its maisons d’art. Atelier Montex embroidered 480,000 beads across the design, while Lesage spent 1,155 hours creating intricate trompe l’oeil jewellery effects woven throughout the gown.
Feathers emerged as a recurring motif throughout Lipa’s wedding wardrobe, appearing first in Palermo and reaching their most elaborate expression in her ceremony look. For the Chanel gown, 25,000 individual feathers were applied by Lemarié, the legendary feather specialist that has collaborated with the house for decades.
The accompanying six-metre veil continued the story, embroidered with beads and feathers before being finished with hand-cut organza appliqués.
Custom white satin pumps by Massaro completed the look, while tiers of crystal embellishment draped across the gown’s open back, creating a striking chandelier effect.
The dress also marks a notable moment for Chanel. It is the first haute couture wedding gown designed by Matthieu Blazy for a friend of the house, offering an early glimpse into the aesthetic he may bring to bridal dressing in the years ahead.
