Renowned Fashion Design House Now Offering 1:1 Consultations in US and Australia
(Trunk Shows and Designer Days get a whole lot more personal)
International Design House Henry Roth announced today that it is embracing 2012 as The Year of Personalization for Brides with a new one-on-one consultation service that extends from buying a dress through to down the aisle in select locations in the US and Australia.
Normally the Henry Roth Design Studio both in Australia and the USA are turning up the volume by offering a unique, cutting edge and distinct difference between buying online and personal customer service. Starting today any bride who books in for Trunk Shows or Designer Days in either Australia or the USA will meet with Henry Roth who will provide the bride with his private cell number and email address which enables access by the bride directly from buying the dress until the bride reaches the top of the aisle.
“The trend for 2012 is all about personalization,” said Henry Roth. “When a woman chooses a dress, it’s truly a passionate, emotional and life-changing experience. By creating a one-on-one relationship between design-house and bride-to-be, we’re forging a personal connection that makes the whole experience that much more magical.”
Brides buying online have stories of dresses that are ill fitted, ill made and don’t necessarily arrive on time. The Henry Roth studio wanted to make a major statement of difference in choosing a wedding gown from Henry Roth. The company believes it is almost like ‘Gown Insurance’.
“When you buy Henry Roth, you’re not just buying a dress, you’re buying an experience,” added Roth. “We work closely with each bride to deliver the best service possible, along with a dress that is truly special and unique. And we let our clients know that no matter where their wedding journey takes them, we’re with them every step of the way. It’s the antithesis of corporatization, and we think, the wave of the future for the modern bride.”
About Henry Roth
Henry Roth creates stunning, chic and affordable couture wedding dresses and gowns that combine international style with exceptional pricing. With nearly 60 years of dressing women for their most beloved special occasions, Henry Roth is a global leader in the bridal market, known for its exclusive designs, exceptional one-on-one service, and creating personal connections with each and every customer. Featuring studios in both Sydney, Australia and New York City, the studio’s work is available at an exclusive and highly selective number of retail stores, in the US, Canada, and Australia. For more information, please visit www.henryroth.com.
Henry Roth is also an internationally renowned fashion commentator and TV host. His work includes: Style Court Judge (Style Network, US); the original mentor on Project Runway Australia (seasons 1 and 2); Beauty and the Geek (Australia). Henry is also the Today Show (Australia) Fashion Editor.
Today, in Henry Roth’s week-long series of Fabric 101 we take a look at lace. Timeless, romantic and oh-so classic, lace is often the piece de la resistance for brides who want to make a statement-making appearance. Here, Henry gives his take on lace.
Lace is a traditional, old school fabric. This is where I believe mine and Michelle’s signature is very strong because it exemplifies our “future vintage” style. We take old-school styles and interpret them into modern shapes for the quintessential Henry Roth signature silhouettes, which Michelle and I love to deliver because we adore using different laces in different ways.
1. Chantilly lace is light and malleable. We adore the way it transforms signature Henry Roth style in gowns like Ina/Diana.
2. Lace appliqués from Alencon lace (which has its origins in the region of France). It is corded and is used on gowns that work well by punctuating the fabric and giving it gesture and flair in gowns such as Helena, Kalea, Darcy/Inga.
3. All-over lace is lighter, malleable and easy to work with. Have a look at Kara.
4. The beautiful thing about lace beaded with Swarovski crystals intertwined in lace fibres. Look to Karissa for how this lace technique offers texture, while the glistening effect of the beading gives more lustre to the lace.
Who wears it?
Lace is having a huge revival because of the way it is used with shapes in such a creative way. Michelle and I love taking contemporary, gorgeous striking silhouettes and waving a magic wand using lace. This is for brides who want to make a fashion forward statement or look to more classic styles for a twist on 21st century modern princess.
Remember, you will rock your frock!
The 1990s… Supermodels, Donna Karan, The Gap. It was a decade that is simultaneously about glamour and classic Americana. But don’t forget, it’s also the era of Nirvana-inspired grunge.
When it came to brides, Vera Wang, was the designer that led the decade. Her interpretation of the ball gown that had become so popular during the 1980s as a stripped down bodice similar and full skirt of tulle lent itself to a trimmed down version of the full-skirted and puffed sleeve excess of the 1980s. She is most famous for her remimagining of the 1950s “apron dress” made popular by style icon Audrey Hepburn. However, perhaps the unsung heroes of the 1990s and bridal fashioning are design duo Badgley Mischka who offered an altnerative vision for ’90′s brides with a stunning assortment of paired down yet intricately hand-beaded gowns.
Many of the silhouettes we look to today are inspired, in part, by the 1990s. From the debut of off-the-shoulder designs to highly sculpted corse bodice. However, free-flowing voluminous gowns had been replaced by narrow and A-line gowns silhouettes.
If you want to bring elements of the 1990s into your future-vintage gown, look at Henry Roth’s
Famous brides of the 1990s:-
Nicole Kidman and Tom Cruise
Rachel Hunter and Rod Stewart
Amanda de Cadanet and John Taylor
Richard Gere and Cindy Crawford
Elizabeth Taylor and Larry Fortensky
Donald Trump and Marla Maples
Heather Locklear and Richie Sambora
Michael Jackson and Debbie Rowe
Jada Pinkett and Will Smith
Jerry Seinfeld and Jessica Sklar
We ended last week with a look back to the 1970s, and today we resume our Henry Roth fashion review with a kickback to the hedonistic 1980s that were fueled by punks, yuppies and the “new wave” movement.
The 1980’s began the era we now know as the “yuppy” years, which gave women a desire to fuse themselves into a predominantly male corporate arena. This high-achieving mindset led way to a generation of “Power dressing” aesthetics and designers looking to cut and boxed traditional business attire with generous shoulder proportions, which gave what is known as a reverse triangle shape to the female form, somewhat similar to a man’s physique. Indeed, the Reagan 80s marked a period reminiscent of the roaring twenties; a sort of no-holds barred opportunity for people to push outside of the box. This was the Yuppie of the 80s, which shared hard angles with the Punk, Retro and New Wave Schools.
Wedding fashion, however, remained soft and flowing at the start of the decade, keeping the natural curves of the female form sacred. Princess Diana’s choice for her 1981 marriage to Prince Charles was to portend the times. designed by husband-and-wife team, David and Elizabeth Emanuel, the sleeve on her ivory silk taffeta gown was as large as her head–a style that had first been memorable in the year 1896. Eventually through the decade, the shoulder pad softened into a rounded, rather than squared silhouette, but was still dramatically enhanced, sometimes with an open keyhole back that closed with pearl strands and lengthy drop dangles.
The late 1970s infusion of Victorian revival kick-started the decade with the softly romantic gowns in diaphanous chiffon. Most of the early 1980s gowns were without structural support ad boasted an abundance of petticoats and skirts, which fell freely around the feet. Sheer fabrics facilitated the romantic styles, embellished with embroidered organza and three dimensional Venetian laces.
Victorian revival gowns popularized high necklines, some of which opened up into Queen Anne keyholes. Laura Ashley opened up the neckline to a squared English country look with peau de soie lined in muslin and screen printed cotton, and Bridallure invested in country charm with matching gloves and picture hats, but the attention was short lived. By mid-decade the wedding gown soon turned to sparkle and glitz–pearl beaded cut-work sleeves and cathedral length cut-work window trains were hand sewn with sparkling sequins. Embroidered organza, embellished hemlines with silky rayon thread and hand sewn beadwork were all the order of the day. However, by the end of the decade, body hugging glamour was in and ads featured a highly sexualized and supremely sexy sheath styled wedding gown.
For some brides, the decade was supremely feminine and some designers held back and simplified, allowing for a return to unstructured, easy glamour. What was consistent, however was that fashion in the eighties was about being conspicuous and ostentatious, with the end result becoming almost theatrical; particularly for brides. Madonn’a gown for her 1985 wedding to Sean Penn perfectly summarized the era–while her dress was surprisingly traditional and feminine, her headpiece was a masculine brimmed hat.
Fashion in the eighties was about being conspicuous and ostentatious, with the end result becoming almost theatrical. 1980s accessories coordinate for an unforgettable look.
The focus of the late 1980s went to the headpiece in grand style. For eighties rock n’ roll brides, the pouf veil effectively complimented the crimped big hair (think roll and roll dreams). Sequined hakus and pearl drop headbands accented the forehead and new flashy metallic tulles made their debut with names like “glamour dust” and “meteorite.” Hair was teased and backcombed, and earrings were simple pearl posts or short drops.
A large fad for the late 1980s was the creation of wreath style headbands, shaped like leaves in a spray. The widow’s peak headband was made from wire and buckram, covered with fabric and embellished with sequins. Pearl drops added detail.
Henry Roth’s future vintage aesthetic and styling often incorporates elements of bridal fashions that were made popular in the 1980s. Though voluminous sleeves are no longer the order of the day, with the majority of rides opting for strapless or a capped, off-the-shoulder sleeve, the ball gown bridal silhouette has the 1980s to thank for it’s popularity. For a 2012 take on the ball gown, look to Kay, Nicole, Ireland. Meanwhile, for a modern take on the glamour of popular 1980s television shows, such as Dallas and Dynasty, the look has got to be Nevada, which features glamorous draped dropped waist gown, spills into layers of soft organza, tiered ruffles, with satin bias detailing, for a look that Joan, Linda and the gang would covet.
Famous Weddings of the 1980s:-
1981: Lady Diana Spencer and Prince Charles
1985: Madonna and Sean Penn
1986: Sarah Ferguson and Prince Andrew
1986: Maria Shriver and Arnold Schwarzenegger
1986: Paula Yates and Bob Geldof
Wow! Today we are buzzing with 1970s excitement, here at Henry Roth HQ. What a decade! The 1970s were such an exciting time for fashion–with dressing becoming increasingly individualistic, fashion-forward and unique. Indeed, many of the silhouettes still so popular today were born out of this decade: think tailored Yves Saint Laurent pant suits, grecian styled dresses, and disco-esque clothing. The 1970s were also the years in which bridal dressing became a business, with the debut of bridal magazines and coveted bridal designers.
The seventies represented the first true fashion trends that came straight from the streets rather than the undercurrents of designer propaganda. This is also the first time in history that women’s pant suits were accepted as stylish day, evening and–gasp!–even bridal wear, with one of the decade’s most famous brides, Bianca Jagger, showcasing the look effortlessly in her 1971 wedding to Mick Jagger. From the exquisitely tailored YSL suit to the romantically veiled hat, this look defined a decade. And it was only 1971.
Elsewhere, wedding fashion was very romantic with a medieval flair. The most famous bridal atelier of the day was Christos who created exquisite wedding dresses, trimmed with hand-clipped lace and beaded pearls. Another coveted wedding dress designer was John Burbidge, who designed gowns for Priscilla of Booston between 1968 and 1985. It was also during this era that many bridal wear designers became successful and desired, including Frank Masandrea and Jim Hjem.
By 1973 most US gowns featured what we call a “dust ruffle”–a country-esque look that features a ruffle that encircles the hem about 12 inches above it. The finishing touch to the look was wide-rimmed picture hats (as worn by Bianca Jagger in her fashion-forawrd ensemble). Think Scarlett O’Hara in Gone With the Wind.
Meanwhile, in the UK brides looked to King Arthur’s Camelot and romantic medieval princess features were incorporated into wedding dresses, including high necks and cascading sleeves.
By 1975 disco surfaced and with it came a whole new fashion aesthetic that was to influence fashion from then onwards. For brides, the disco era signified a move away from structured gowns to the stretch polyester double knit, heralded as the fabric of the future.
Double knit gowns became wildly popular–flowing drop back caplets, batwing sleeves, empire waists and bustled trains. The look was all about giving the appearance of being wrapped like a Grecian Goddess. The look was all about draping. Sound familiar?
Celebrity Weddings, 1970s:
Mick and Bianca Jagger – 1971
Princess Anne and Captain mark Philips – 1973
Elizabeth Taylor and Richard Burton – 1975
Alana Hamilton and Rod Stewart – 1979
Today, we continue our Henry Roth history lesson of wedding dresses through the ages with a peek at the 1960s. This was such an exciting decade for fashion and it brought us many of the styles we still look to today, from minis to maxis and A-line to caftans.
During the 1960s, bridal fashion brought many of the styles that are now so familiar to us today, like empire waistline and the A-line silhouette. In addition, the bubble sheath silhouette, hemline at ankles, 3/4 lace sleeves and Watteau train are unique styles of that decade.
The 1960 election, won by John F. Kennedy, brought glamour to post-war America, with Jacqueline Kennedy as first lady. In 1961, Oleg Cassini was appointed as Jacquie’s official designer. Women around the world admired her for her for her upscale style and instantly adopted her sense of fashion and Jacquie’s appearances at White House State dinners wearing a fitted sleeveless sheath with a bare neckline and opera length gloves, caused a huge media stir as prior to then sleeveless garments were considered too informal for black tie. Her silhouette of a slim fitting sheath was striking in contrast to the full skirts of the previous decade.
American wedding wear designers–not yet ready for sleeveless gowns in 1962–adapted the look by adding a cap-sleeve to offer a modern version of Grace Kelly’s famous gown from the previous decade. And in 1964, the A-line silhouette made its debut.
While American bridal trends during the 1960s were inspired by European fashion houses, Balenciaga and Givenchy, in England a fashion explosion was taking place with Hulanicki (of Biba fame) and Mary Quant taking the helm of the “Mod” movement to give miniskirts and fashion icon, Twiggy, their debut.
By late 1965, the mini skirt was so popular it was even considered acceptable for brides. Also popular was the A-line gown which was a breakaway from the tightly girdled hourglass shapes of the 1950s. Such gowns fell from the shoulders and had no hint of a waist. Sleeves were three quarter or eliminated completely, only to be accessorized with formal gloves.
Elizabeth Taylor was the poster child for this new era of sophistication and glamour, epitomized in 1963′s Cleopatra. Soon thereafter evening wear designers began to display the rather distinctive influences of Egyptian design–sequined or beaded collars and softly draped fabric. The look was completed with heavy eyeliner and piled hair.
Then, towards the end of the decade, came the Vietnam War and the growth of the hippie movement. Young people were focused on freedom, peace and love.
With the emphasis on freedom, peace and love, hair was now being left long and unstyled, and toward the end of the decade, Hemlines lengthened to what is now called the “Maxi.” During these latter years of the 1960s wedding gowns were romanticized–inspired by caftans, empire waists and Victorian sensibility, to create what is now known as the “flower child” look. Flowing bell sleeves and flower trims were the order of the day. Watteau trains were often attached at the upper back shoulder and were made from the same fabric or sheer net that was embellished with Venice lace.
Famous weddings of the 1960s:-
Frank Sinatra and Mia Farrow -1966
Richard Burton and Elizabeth Taylor -1964
Princess Margaret and Anthony Armstrong Jones – 1960
This week, at Henry Roth we look at Mum’s rocking their frocks on our Facebook page. With this in mind it is an ideal opportunity to look at wedding dress styling through the latter half of the 20th century, which has influenced Henry’s signature “Future Vintage” aesthetic.
Today, we begin with the 1940s and 1950s.
The 1940s are divided into two parts: during the war and after the war. Due to rationing, wartime meant brides often opted for simple designs and borrowed dresses. Post-war, however, signaled the fashion era known as New Look–this was a stylish and feminine approach to dressing. The troops returning home also led to a boom in weddings as sweethearts were reunited after a period of gloom and austerity.
Wartime brides opted for borrowed gowns, mended family gowns or simply wore their best dress. Some style features that might have featured on their gowns are:
- Gibson or mutton sleeves (Billowing at the top and tapered to fit below the elbow)
- Long sleeves with a point at the end, especially combined with a high v-neck collar
- Netting at the neckline
- Emphasis on waist, often with a “v” shape
- Slight “sweetheart” shaping high on the neckline, near the collarbone
- Made of rayon, though sometimes silk
- White, ivory, off-white, or beige color
New Look fashions paved the way for 1950s styling. During this time brides and women in general, looked to tighter waists and fuller skirts.
The most famous bride of the 1940s is Queen Elizabeth who married Prince Philip in 1947 while still a princess. At the time, food and clothing were still rationed in post-war England and so royal dressmaker, Norman Hartnell used Princess Elizabeth’s wedding dress to convey a message of renewed hope. He did this in part by embroidering the gown with garlands of spring flowers.
During the 1950s, wedding dresses tended to be traditional length with sleeves and fe embellishments. A lifted rationing on fabrics meant brides now looked to full skirts, rounded shoulders, a very emphasized waist, a bodice with “pointed bosom.” Dressing for women in the 1950s was all about celebrating their hourglass figure. Hoop skirts, crinolines, and other techniques were used to play it up.
During the 1950s French lace was all the rage, as post-war lace began to be manufactured again. It was therefore not uncommon to find brides opting for tiers and tiers of chantilly lace on their bridal gowns.
A few other looks that made their way into the wedding dresses of the 1950s:
- Upstanding gothic style collars
- Lace boleros on top of a strapless dress (opaque ones became popular later in the decade)
- Ankle-length styles rather than floor-length
- Flutter hems
- Layered materials
- Three-quarter or long sleeves with a wedding point
- Scooped neckline
- Dropped hemline (late ’50s)
- Stiffer, more opaque fabric than the chantilly lace of earlier in the decade (late ’50s)
The most famous bride of the 1950s is, of course, Grace Kelly, who married Prince Rainier of Monacco in a 1956 ceremony.
Princess Grace of Monacco’s wedding dress as since been the source of inspiration for many brides, most famous of which is Kate Middleton who married Prince William on April 29th, 2011 in a wedding dress designed by Sarah Burton for Alexander McQueen. The exquisite bridal gown was the source of much speculation in the run-up to the wedding and once revealed, the comparisons to Princess Grace’s wedding dress were instantly made.
For Henry’s take on 1950s wedding gowns, look to Zoe, Zoe Too and Maya.
All this week on Facebook, we are asking our Henry Roth Facebook fans to post pictures of their mums on their wedding days. We want to look back in time, get all nostalgic and celebrate mums. It’s also a fabulous way to look at how wedding dresses have developed over the years, and how the silhouettes of yesteryear inspire those of today. In honor of this, each day we are going to look back to wedding gown trends and silhouettes over the years. After all, they are all at the core of Henry’s signature future vintage aesthetic.
In the 1950, during a November heatwave, Henry’s parents Joseph and Aneta Weinreich got married and formed a partnership that was not only to grow into a long-lasting marital union but would also be the foundation of what has become Henry Roth bridal atelier today.
“My mum was a bit of a fashion forward bride as most if not all brides on that day wore gowns top the floor,” Henry told me today. ”It was co-designed by my Grandmother, Franka Baral, and my mother, Aneta. It was made from Guipure lace imported on from France. It was a very ahead-of-its-time gown.”
“My parents are amazing powerhouses of positivity,” he continued. “We are a three generation bridal designing family. My parents are also holocaust survivors so for them after surviving that atrocity wedding dresses have tremendous symbolism. It is about the renewal of hope, entering positive new chapters with brides, new dreams and aspirations. Wedding dresses are far more than just fabric, they symbolize new beginnings and it is a huge privilege and amazing profession.”
So this week, in honor of Henry Roth matriarch, Aneta Weinreich, and her spectacular, fashion-forward wedding dress, head over to our Facebook page and post a picture of your mum on her wedding day–we want to see how she rocked her frock!
As you know, here at Henry Roth Central we are a sucker for a beautiful bride in a gorgeous gown. Especially if said gown is by our favorite designer. So, we love nothing more than hearing back from our brides with gorgeous pictures and lovely anecdotes of the day we dressed them for. Case in point? The stunning Katherine, who married her beau, Ted, in a South Florida beach-side ceremony a couple of months ago in November 2011.
Katherine chose our stunning dress, Nicole, for her special day because she felt its fluid lines and whimsical nature were in keeping with her beach nuptials. The organza swirl and corseted bodice were, indeed, perfect for her day and the feel of Katherine and Ted’s wedding day.
We caught up with Katherine briefly to get her top tips for other Henry Roth real-life brides. Her hot tip? Well it’s one that is particularly pertinent to other beachy brides. Katherine advises if you are exchanging vows on the sand to opt for flip flops for the ceremony portion. And, most importantly, find one with a wedge, she exclaims! Then, once you are Mister and Misses and are heading into the party, slip on your incredible shoes so you feel sexy and gorgeous as you dance the night away.
Thanks, Katherine, for sharing your STUNNING pictures and fabulous anecdotes. We wish you and Ted a lifetime of health and happiness.