02The collection, four families

Rare wedding dresses in four fabrics that do not forgive bad sewing.

These are the designer wedding dresses on our Seattle rail. Silk Mikado, Chantilly lace, beaded tulle and silk crepe, each one made to order by the designer after you are measured in Wallingford.

Made to order · sizes from the designer's own chart Priced per gown in USD, confirmed in writing Inquiry only · no online ordering
Ivory silk Mikado A-line wedding gown with stitched waist pleats on a dress form against warm white paper
Fig. 03 Silk Mikado A-line, sculpted bodice Studio, north light

I / IVMikado wedding dress

The Mikado A-line

Structured silk Mikado with a sculpted bodice and stitched pleats that fan from the waist into the skirt.

Mikado is a heavy silk twill. It holds a pleat all day and it does not forgive a bad seam. That is exactly why we buy it from a workroom that builds the bodice properly. The shape comes from the cut and a canvas interlining, not from a row of bones pressing through the shell, so the neckline sits flat on the collarbone and you do not see ridges on the side of the ribcage in photographs.

The skirt stands away from the body on its own weight. No hoop. No crinoline. You can sit in a car seat without wrestling the frame, and the gown packs into a garment bag rather than a box. The pleats are pressed and stitched down for the first few inches, then released, which is what keeps them fanning instead of bunching when you walk.

It suits most frames, and it is the family we pull first for a bride who is not sure what she wants. It belongs in a formal hall, a stone church or an autumn ceremony outdoors. In a Seattle July it is warm by mid-afternoon.

FabricSilk Mikado, heavy twill weave with a low sheen
LaceNone
ConstructionCanvas-interlined bodice, stitched waist pleats, fully lined skirt
SilhouetteA-line, fitted waist, self-supporting skirt
ClosureConcealed zip with hook and bar at the waist
Sizes ordered inMade to order from the designer's size chart, then altered to you
Lead timeUsually five to eight months from order, set by the designer

Price basis: priced per gown in USD, quoted at your appointment for size and options; alterations quoted separately in writing.

Slim ivory Chantilly lace sheath wedding gown on a dress form against warm white paper
Fig. 04 Chantilly lace over silk crepe Sheath, low back Studio, north light

II / IVLace wedding gown, Seattle

The Chantilly Sheath

Fine Chantilly lace laid over silk crepe, with a low open back. The lightest gown we carry.

Chantilly is the fine lace. A light net ground, flowers drawn in thin thread, a delicate outline cord. Alençon is the one with the heavy corded edge, and it shows up here only where the designer uses it to trim the back. Ask to feel both at the appointment. Most brides can tell them apart with their eyes shut after ten seconds.

What we check on a lace wedding gown is the joins. A cheap sheath runs a straight machine seam through the middle of a flower. On this one the motifs are cut around and lapped by hand across the side seams, so the pattern travels round the body without a break. The hem finishes on the lace's own scallop instead of a trimmed edge.

Under the lace is silk crepe, which moves on a body rather than sitting on it. This is the gown for a hot August ceremony, a vineyard, a dinner that turns into dancing. It is close through the hip, so it is honest about what is underneath. We talk about underpinnings at the first fitting, not the week before.

FabricSilk crepe underlayer, matte with a soft drape
LaceFine Chantilly throughout, corded Alençon trim at the back opening
ConstructionHand-lapped lace joins, scalloped lace hem, light bodice support
SilhouetteSheath, close through the hip, low open back
ClosureCovered buttons over a concealed zip
Sizes ordered inMade to order from the designer's size chart, then altered to you
Lead timeUsually five to eight months from order, set by the designer

Price basis: priced per gown in USD, quoted at your appointment for size and options; alterations quoted separately in writing. Taking up a scalloped lace hem is a bigger job than a plain hem and is quoted as such.

Ivory tulle ball gown with a hand-beaded bodice and a full layered skirt on a dress form
Fig. 05 Silk tulle, hand-set glass beads Ball gown, corseted bodice Studio, north light

III / IVBeaded tulle wedding dress

The Beaded Tulle Ball Gown

Hand-set beadwork on a corseted tulle bodice, over a skirt of layered tulle finished with horsehair braid.

The beads are sewn on in the designer's own workroom, one at a time, by people we have watched do it. A single bodice takes days. You can see the difference at arm's length: hand-set glass beads sit at slightly different angles and catch the light unevenly, where machine beading reads flat. Because it is done by hand, the pattern varies a little from one gown to the next. Yours will not be a copy of the sample.

The corset carries the weight. It is boned and built so the beading hangs from the bodice and not from your hips, and the skirt floats off it in many layers of silk tulle. The hem is edged with horsehair braid, which holds the outer layer open in a clean curve instead of letting it collapse onto the ones underneath. Volume without the weight you would expect from it.

This is the one for a long aisle and an evening venue. It is the warmest gown on the rail and the heaviest, so try it on, walk in it and sit down in it at least once before you fall for the photograph. For an outdoor July wedding in eastern Washington we would steer you elsewhere.

FabricSilk tulle, several layers over a soft tulle lining
LaceNone; beadwork in glass bugle beads and seed pearls
ConstructionBoned corset base, hand-set beading, horsehair-braid hem
SilhouetteBall gown, natural waist, full layered skirt
ClosureCorset lacing over a modesty panel
Sizes ordered inMade to order from the designer's size chart, then altered to you
Lead timeUsually six to nine months from order, because the beading is done by hand

Price basis: priced per gown in USD, quoted at your appointment for size and options; alterations quoted separately in writing.

Minimal ivory silk crepe column wedding gown on a dress form against warm white paper
Fig. 06 Heavy silk crepe Column, single back seam Studio, north light

IV / IVSilk wedding dress, Seattle

The Silk Crepe Column

Heavy silk crepe, no lace, no beading, and one seam running down the back from neckline to hem.

A silk crepe wedding dress looks simple in a photograph. It is the hardest gown on the rail to make well. Crepe has a matte, pebbled surface and a lot of drape, and it shows everything. A seam pulled a millimeter tight shows. So does a zip set without enough ease.

That is why this designer is on the rail. The cut respects the bias, so the skirt falls straight rather than twisting toward one hip, and the crepe is heavy enough to skim the body without clinging. There is nothing on it to hide a mistake, and on the samples we turned inside out there were none to hide.

It suits a bride who wants the gown to disappear so she is the point. City hall, a small dinner in a gallery, a second dress for the reception. Crepe marks if you sit on it damp or crush it in a car, and we show you how to fold the train before it leaves the boutique.

FabricHeavy silk crepe, matte face
LaceNone, and no beading
ConstructionBias-aware cut, single back seam, silk lining
SilhouetteColumn, floor length, fluid skirt
ClosureInvisible zip set into the back seam
Sizes ordered inMade to order from the designer's size chart, then altered to you
Lead timeUsually four to seven months from order, set by the designer

Price basis: priced per gown in USD, quoted at your appointment for size and options; alterations quoted separately in writing.

The price on the tag is where the conversation starts.

Alterations are quoted separately, in writing.

Every gown here is priced per dress in US dollars. The figure moves with the size the designer has to cut and with the options offered on that style: a sleeve, a longer train, a changed neckline, a different lining shade. You get the exact figure at the appointment, and it is confirmed in writing when you order. We do not publish a figure here because a number without your size and options is a guess, and guesses turn into arguments.

Alterations are a separate line. The seamstress quotes them after the first fitting, once the gown is on you. A plain crepe hem and a scalloped Chantilly hem are not the same job, so we will not print one price for both.

Nothing on this page is a binding quote and there is no online checkout. The only way to buy one of these gowns is to come in, try it and order it with us in writing. Deposits and order timing are set out in the terms.

Gown price for your size and optionsWritten at order
Alterations, pinned at the first fittingQuoted separately
Rush alterations when a gown is ordered lateAvoidable
Order eight to ten months outNo rush line

VIChoosing between them

Which fabric forgives what, from the fitting room floor.

Heat and a long day

The Chantilly Sheath and the Silk Crepe Column breathe best. The beaded tulle is the warmest to wear by a distance, because of the corset and the skirt layers. Mikado sits in between.

Dancing

The sheath and the column move with you from the first song. The Mikado A-line moves well once bustled. The ball gown dances, but you will want the bustle up and a clear floor.

Travel to the venue

Mikado and tulle survive a car ride. Crepe needs care. Lace steams out the easiest on the morning. Mikado creases at hard folds, so hang it the night before and never lay it folded in a suitcase.

A budget ceiling

Tell us the ceiling when you book. We pull only gowns whose written figure for your size sits under it, and we leave room in the number for alterations.

VIIAsk about a gown

Name the gown and your date. We check the designer's window first.

Before we offer you a time, we check whether the designer's production window still fits your date, so you do not spend ninety minutes falling for a gown that cannot arrive. Read how we buy or see the visit page for directions to 1423 N 45th St.

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