It’s difficult to imagine a piece of clothing with more personal meaning than the. An white gown has been associated with for years, expressing the antiquated ideal of a woman’s chaste innocence when she “should” present it on her day. It’s a visible essence of purity: an heavenly state that, in fact, very few can really relate to.
But on the SS24 fashions, an other tale emerged, a slew of white apparel found a new perspective at shows from and Balenciaga to and Loewe. Rejecting outdated symbols and engendering a pleasant sense of renewal that felt more in line with the current woman, this new interpretation of the bright dress came with a new spirit. And it’s why I, an young, un- fiancéed woman, whose wardrobe is largely made up of dark- on- dark, am inclined to eventually say’ yes’ to The Big White Dress.
The light gown has a great opportunity to broaden its frontiers right now. After all, fewer marriages are occurring ( the proportion of over-16s in England and Wales who are wed or in a civil partnership has decreased below 50 % ). And for those who do choose to tie the knot, the classic ivory-tulle appearance no longer appeals as well. Weddings nowadays tend not to follow convention so closely, as couples define their own rules, and brides are increasingly more likely to choose a costume ( if it’s a costume at all ) that tells a more personal tale.
White is one of the most powerful and empowering colours, according to 16Arlington co-founder and artistic director Marco Capaldo, one of the manufacturers who is promoting the reformation by giving bright looks a title slot at his SS24 present. If you think about the color in a different perspective, then a cloth is white, a museum wall is light. White promotes splendor, and the same effect occurs when it is worn on clothes.
Capaldo’s generation for SS24 came with a emphasis on silhouette, become it meet to the figure or with a pannier- style waist, and bright dresses offered up a gearshift in the AW24 collection, also.
‘Wearing white is a bold, confident move, but it’s not in anyway gaudy,’ he adds. Here, in Capaldo’s hands, the shade becomes something more complex and representative of the comprehensive 16Arlington woman.’ There’s something about white that really feeds into the duality of 16Arlington. White is just as clinical and sterile as it is sensual and alluring because we constantly experiment with these contrasts and tensions. White is a really phenomenal palate cleanser.’
It’s Capaldo’s description of a ‘palate cleanser’ that feels particularly apposite right now, a breath of fresh air, sartorially. And, thanks to the diversity of white dresses shown in the spring /summer 2024 collections, the garment got the expansive treatment. When I think about how I’ll do the white dress, options suddenly abound. Maybe it’ll be Chopova Lowena’s broderie- gone- punk, or Bottega Veneta’s collared shift. I enjoyed the belted options at Ferragamo and could, even, maybe, be tempted to attempt Gucci’s itsy- bitsy mini- dresses. Róisín Pierce’s take is great and girlish, as are Simone Rocha’s corsage- laden gowns.
For as much as white dresses have their bridal reputation, they also have the reputation for being immaculate. White shows everything, from the slightest stain to that missed, unironed crease, which is another reason I have avoided it in general, hiding behind the camouflage of black or the concealment of a busy print. I will always spill the spaghetti, but maybe that’s OK now. These white clothes are meant to be worn inside, with feet on the ground and a dash of Merlot occasionally..
The quiet power of a white frock is perhaps most apparent when lit by Hollywood’s spotlight. White has won more awards for Best Actress than any other shade, including Dior in 2023. Opting for a white gown on a red carpet is a winning formula that Hollywood’s greatest heroines and a new generation of stars understand. The loud and ostentatious, the gimmicky and the glamorous can fill column inches.
On both carpets and catwalks, frosted shades are the go-to for those who prefer to leave a lasting impression quietly rather than yelling about their sartorial prowess. White is the purest color in my opinion, and it frequently makes the most of a breather in the chaos, according to Nell Kalonji, an editorial and celebrity stylist who collaborates with Sophie Wilde and Shygirl.
Kalonji frequently turns white for her clients’ award-winning moments. It would be a very limiting attitude to think of white as only being bridal, whatever “bridal” means these days,’ she says.’ I wanted them to stand out, but for the look to feel pure and not too loud,’ she adds, of Shygirl’s Ferragamo and Wilde’s 16Arlington outfits.’ I wanted the looks to feel easy at first sight, but focus on the details. The perfect illustration of this is Sophie’s 16Arlington outfit for the AACTAs. It’s a simple dress, but it’s embroidered with large latex palettes. It’s elegant and feels effortless, but still fun and complex.’
What Kalonji describes here is something that is more representative of contemporary woman. She doesn’t have to be pure and virginal, as a white dress once indicated, but is expansive and ever- changing. She’s knowing and self- assured, complex and detailed. Heck, maybe she’s even a bit messy. Even if she does want to dress in white on her wedding day, she has already lived a life, with the average bride in the UK now being around 33 years old.
When I think about my wedding dress, should I choose that day to ever come, I may wear white, like my mum, my grandma, my great- grandma. But I won’t wait until then, intimidated or embarrassed, to embrace the shade. White is no longer for one day, only rendered in tulle with a matching veil and a virtuous reputation, but for all of life’s eventualities.