By: Megan McGurk
What are your favourite bridal looks on film?
The organdie gown with floral spray buttons that Joan Crawford wears in Love on the Run (1936) captures the mood of a garden wedding. It moves like a spring breeze.
Ginger Rogers looks like a Madonna in a starry halo, one of many bridal ensembles she wears to play a serial runaway bride in It Had to Be You (1947).
Gene Tierney’s husband Oleg Cassini created a classic romantic confection for her wedding scene in The Razor’s Edge (1946).
But try and find another duchess satin turtleneck gown onscreen, with a wimple, that carries a forty-foot plastic veil, like the one Dolly Tree designed for Rosalind Russell in Man-Proof (1938). There’s nothing else like it in the history of cinema.
Forget sweetheart necklines, or lace, or beading, or any other detail that’s so last century by comparison.
There’s no traditional promise in Roz’s wedding look.
Rather than opt for demure or dainty, Roz looks remote and inaccessible, bolstered by satin and luxe plastic.
Dolly Tree created something more complicated than expected, something myth-bound, like a labyrinth with a Minotaur at the centre. It announces ‘unwrap me at your peril’.