her decision to step down as Creative Director from her eponymous brand after her Fall 2018 runway show, handing the reigns over to Wes Gordon, who has been working side by side with Mrs. Herrera for the past year as a creative consultant. Although fans of the brand had started to get a feel for Gordon's riff on the Herrera ethos in recent ready-to-wear seasons, this season marked Gordon's first foray into bridal.
And rather than tiptoe into weddings, Gordon chose to go all in, producing a full, versatile range of looks that infused color, sweet details (like hearts in organza, piped in ribbon and layered in a skirt for texture) and innovative silhouettes into the mix. To fully flesh out who the modern day Herrera bride is (emphasis on the word modern), Gordon tapped high-style event and wedding planner, , a member of , to create the world of Herrera bridal as he saw it for the season. The result? Sweet, chic, girly, playful and, admittedly, a bit more youthful than we've seen the Carolina Herrera bride in past seasons. This bride sneaks a lick of icing from her wedding cake; she doesn't feel the need to wear diamonds or her grandmother's pearls; she lets her dog run wild in her bridal suite and take a rest on her train.
The collection made more nods to the brand's ready-to-wear collections than we've seen in the past, employing key colors (like the daffodil colored silk faille and lavender ribbon finishes) from Spring 2018. What's always been a staple for the brand–a silk oxford shirt tucked into a voluminous skirt–was represented too, and this bridal version featured a breathtaking scatter of flowers embroidered into its skirt. The appearance of this silhouette in bridal was undoubtedly an homage to Mrs. H, and to her , which featured a parade of the signature silhouette in varying tones on each model that walked the runway.
On his first bout in bridal, Gordon exclusively told BAZAAR.com, 'I was inspired by the strong woman that I’m lucky to know–my friends who are getting married and the ones that dream about getting married. They each want to wear something memorable, fun, unique and most importantly, every bride wants to feel her most beautiful.'
Gordon's collaboration with Rebecca Gardner involved creating a narrative around this youthful bride-to-be. Gardner set the scene for us: 'Set in her family home, the flowers are from her mother’s garden. Cocktail plates, hemstitched linens and teaspoons line up like soldiers encouraging guests to treat themselves. Rose Cummings named the chintz after Lady Idina Sackville–a reminder that nice can also be naughty.'