The sleek white gown, with its six strategically placed seams, was stitched from a heavy silk with a subtle sheen. A simple bateau neckline gracefully framed her face. The body of the dress subtly outlined her waist and flowed into a full train. But what was most noticeable were all the things that the dress was not. It was not a Hollywood red carpet statement. It was not a Disney princess fantasy. It was not a mountain of camouflaging tulle and chiffon.
The dress, designed by Clare Waight Keller, was free of extravagant embellishments. It was not covered in yards of delicate lace. It did not have a single ruffle – no pearls or crystals. Its beauty was in its architectural lines and its confident restraint. It was a romantic dress, but one that suggested a clear-eyed understanding that a real-life romance is not the stuff of fairy tales. The dress was a backdrop; it was in service to the woman.
The woman. That’s what the dress emphasized. Not bridal whimsy. Not princess tropes. Not royal pomp.LONDON: The dress isn’t everything but it is a lot. And the Givenchy haute couture gown chosen by Meghan Markle for her marriage to Prince Harry told a story about contemporary romance, geopolitical history and the institution into which she has married. But mostly, most importantly, it offered a bit of insight into the bride herself.