Daily Front Row

2009 April 6

Runway Review

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The Henri Matisse gown
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(NEW YORK) It's no secret that wedding gowns are often accompanied by diamonds, so no wonder Carolina Herrera opted to stage her Spring 2010 bridal collection inside the Tiffany & Co. flagship on Fifth Avenue. On Sunday night, editors, buyers and various engagement-ringed ladies sat in front of the display cases as Herrera unveiled twenty looks that could charm even the most stoic bride into sporting a ballgown. Naturally, all the gowns were accompanied by baubles from Tiffany & Co., some of which festooned the custom hats by Albertus Swanepoel for Carolina Herrera.

Each look was named after an artist who had featured fashion in his work. The Claude Monet gown featured water lilies hand-painted onto English tulle in a strapless ballgown finished with a cathedral veil. The Gustav Klimt offered a sleeker silhouette, with a tank-style English net gown entirely embroidered with graphic gold accents, recalling the artist's signature use of gold leaf. Another standout was the Francisco Goya, a strapless embroidered white thread gown decked out with bright pink taffeta and a silver ribbon. A black lace bollero completed the look.

The most standout dress in this inventively-conceived and exceptionally rendered collection was the John Singer Sargent gown, a slim column in ivory faille with an off-kilter portrait neckline and embroidered floral brooch. With a dress like that, who needs a wedding?
ASHLEY BAKER