Dresses and veils with voluminous flowers

From the side, a three-dimensional flower is read differently than from the front: its edge moves away from the base, catches light and casts a shadow. It is the own profile that distinguishes this part from floral motif — a broad theme of the drawing, which can remain flat. One large flower works as a local accent, a group of smaller ones creates a rhythm; both options need to be viewed from different distances.

Position determines where the eye first goes. At the neckline, the scale of the flower should be correlated with the face and jewelry, at the waist with the transition between the bodice and the skirt. On open back the decor becomes part of the rear view, on an A-silhouette or ball skirt, it gets a wider plane. Check whether the composition has a clear center and how it looks from the side where there are fewer flowers.

In the catalog, flowers occur on lace, tulle, satin, organza and other grounds. The name of the attribute does not determine the material of the application itself, its rigidity or the method of manufacture. Take a close look at the edge of the petals, the shadow between the layers and the connection to the fabric without pulling on the element. At full height, assess whether the volume does not visually overlap the neckline, seam or hem.

During the fitting, take a portrait, a profile shot, and a back shot, then walk around and slowly come back. See if the edges are touching the hand, sleeve, or adjacent layer and how the shadow changes as you move. If you are planning a veil with flowers, choose it in the section wedding accessories CRYSTAL together with a dress: two three-dimensional decors can extend the composition or argue in scale. At the fitting in Lviv, this is most clearly visible from the side and in the shot from behind.