Alexandra Shulman, former editor-in-chief of British Vogue, recently reflected on her experiences with wedding attire, contrasting her own choices with those of high-profile brides such as Catherine Middleton.
Shulman recalled her first marriage in 1994 as a hastily arranged event, prompted by a proposal only days before the wedding. According to her account, her then long-term boyfriend proposed on a Monday and had booked the register office for the following Thursday, an expedited timeline she now notes would be unlikely under current marriage regulations requiring a 28-day notice period. The quick decision left little time for preparation, and Shulman described her appearance on the day as far from ideal, citing a "dreadful haircut," pale complexion, and an outfit that she felt did not flatter her. She selected a long-sleeved white dress by Ghost and layered a richly embroidered Dries van Noten shawl over it, purchased during a last-minute shopping trip in London’s Browns boutique. Shulman admitted feeling apprehensive about the future and acknowledged a measure of regret regarding the lack of traditional wedding gown formality.
In contrast, Shulman highlighted the significance of royal wedding attire, especially in the case of Catherine Middleton’s 2011 wedding to Prince William. Following their engagement announcement in 2010, Shulman was contacted by someone on Middleton’s team regarding potential designers for the bridal gown. Together, they reviewed options including Erdem, Vivienne Westwood, Catherine Walker, Bruce Oldfield, Alexander McQueen, and Phillipa Lepley. Shulman noted Middleton’s unfamiliarity with custom-made clothing and emphasized the need for a dress that would symbolize national hopes and aspirations. The final choice was Sarah Burton of Alexander McQueen, praised by Shulman for her expertise and discretion. On the day of the wedding, confirmation arrived via text message that Burton designed the gown, a decision Shulman endorsed for its historic weight and appropriateness.
Shulman also shared insights from her second wedding, which took place after 20 years with her partner David. With more time to plan—six weeks compared to a few days—she chose an outfit that could be worn again rather than a traditional bridal gown. Opting for a pale pink satin pencil skirt embroidered with small crimson poppies by Jil Sander, she complemented the look with a bright red cardigan and a feathered bag by Dries van Noten. The ensemble, she said, matched her mood and intentions perfectly, marking a confident entry into her new marriage as “a scarlet woman, not a blushing bride.” Her reflections emphasize a personal evolution in perspective on marriage and wedding attire, underscored by pragmatism and self-awareness.