My Italian WeddingThe home of Italian weddings with news, tips and real wedding stories by Italian brides and wedding planners

I’ve always been intrigued by old things, especially dresses.
Flecks of dust within their creases; faded colours and anachronistic shapes. They all have something to say. Always.
At first glance you might find something which is not quite right: the pattern of the cloth, the shape of the sleaves, or the way the skirt is cut…but then, at a closer and more careful look you will start loving those imperfections of the time which talk about undisclosed stories.

When I came across Elena’s dresses, whose atelier is based in Venice, I could see stories of other times flowing through their new fabrics…
So I decided to interview Elena who has been really kind to give me some insight on how she creates these dresses full fo soul!

My first question is related to the meaning of your atelier’s name Orologisilenziosi, Silentclocks – all one word. Where does it come from?
Orologisilenziosi comes from the idea of a still clock and of the time that can be moved back and foward as you like. It becomes the expression of freedom from the mainstream fashion constrictions and dictates; the re-conquest of your own individuality through the control of the historical and contingent time: the time you need to complete something with the right care, the time you need to choose the right dress.

How did you start making corset and bespoke dresses?
I always had a passion for needlework, embroidery and all “feminine” works, since when I was a child. At the age of thirteen I made my first costume. I wanted so bad a victorian costume, and  at that time a teenager had not access to good (or even mediocre) historical costumes, at least where I lived. So I decided to make it myself, and it had to be a complete outfit, from underwear to accessories. After high school I went on sewing my own clothes, learned corsetry and started to make my first bespoke outfits and accessories for others.

Where do you get the ideas/inspiration from?
Well, almost anything. When I design something on commission, I usually ask for colour and theme (this can be the basic shape, an era or just a mood) and then start searching until I collected enough material on that subject. When I am let free to do whatever I want (and it often happens with some clients), the ideas just come from the mix of stuff I fill my brain with: historical clothing, art and science, the observation of nature, literature, movies. In any case it is all about keeping the mind stimulated and let the things settle and become a part of me.

Because a lot of your works are inspired by period dresses, how do you make sure they reflect the fashion of the time?
I do not make anything philological, but I love to include period techniques in my work, when I think they are effective on the practical and aestetic side. As I said before I really do a lot of research. I have my collection of books on period clothing with photos, fashion plates, patterns and techniques, and then there is the internet of course. I also visit museums and exibitions whenever it is possible, and sometimes travel abroad for research. I really like the pastiche aestetic, but it has to make sense, somehow. It is not just about picking random things and putting them togeter. Being inspired by something, means to try to understand it on the deeper level: how it was done, why, who wore it, in case of a dress, but similar questions work for any other inspiration. You need to understand something and treat it with respect, before you can use for your own purposes. Curiosity is at the base of the process.

What is the period in the history (20s, 30s,…) that you like the most?
I have a lot of “crushes” on different periods. Basically my first love is the Belle Epoque, from the seond half of XIX century to the first world war, but I do love to take trips to the beginning of XIX century and also to the twenties and thirties of the XX.

What was the most interesting project/dress you realised?
Well…it’s always the next one, isn’t it? Anyway, last year I got into millinery and that gave me an extra oomph, allowing me to complete my outfits with nice hats and headdresses. I do love hats, they can enhace even the most plain of toilettes. Currently I’m working, in my spare time, to a corset outfit in black silk, inspired to late victorian bustle fashions, with a silk embroidery and dolls’ glass eyes as a decoration. It’s a bit on the spooky side, but reflects my obsession for observation and for going to the roots of things, and links it to my passion for late bustles.

Is your personal style inspired by your work?
Only when I find the time to make somethings for me. Being literally a one woman brand (I really do everything on my own) it is not easy, but I try to wear my own works as often as possible. Mostly because it is hard for me to find clothes that fit my soul, so I end up feeling really uncomfortable when I wear industrial clothes. I always keep this in mind when working for my clients: I try to fit both their bodies and their souls, I speak with them and try to understand what they want and what they need.

Does Venice influence your work?
Not really, to be honest. Although I make costumes too, I always kept quite far from the venetian stereotype costumes. I love Venice, but the world is bigger than that. Still I like to go for a stroll in Venice and get lost through the calli, far from tourists, shops and chaos, where all the magic still lies almost intact.

Have you ever had one of those afternoons where you have been rummaging in one of your granny’s old trunks looking for some old vintage memorabilia?

I did it so many times, but I’ve never been so lucky as Guido Taroni.

One day, he found an old trunk which belonged to his grand grandmother, the noble Carla Erba Visconti di Modrone, and inside it…guess what…an entire collection of fabulous dresses…

Can you believe they are all dresses back to the beginning of last century? I loved this story and I was so impressed by the pictures…they look so contemporary…

They are all unique pieces designed and made by prestigious fashion brands at those times, such as the Sartoria Ventura founded in 1815 which was the official supplier of the Italian royal family; other dresses where signed by the well-known atelier H.Haardt et Fils whose clients belonged to the rich middle class of the Milan area.

I would not know which of these dresses to choose – they would all look fantastic and unusual as a wedding dress.

What I like most are the clean lines which are gently enriched by light materials like organza, crèpe satin, crèpe georgette and chiffon, all enlighted by crystals and beads. I simply adore the gold and silver decorations as well as the laces.

Thanks to Guido Taroni, who by the way is also a great photographer, for sharing with us these fabulous findings from his anchestor!

Shopping for bridal shoes is often one of the trickiest parts of planning a wedding outfit. For many brides, finding the right shoes proves a dilemma because very little of the shoes themselves will be glimpsed beneath their floor skimming gown yet footwear is bound to be visible throughout the reception, particularly once the dancing begins. Couple this with the fact that you need to be wearing your special wedding shoes from dawn till dusk and would most likely prefer them to be as comfortable as possible and you’ve got a major style search on your hands.

If you like to make a style statement, then go for an on trend nod by adding extra inches and choosing a shoe with a platform sole, such as the Silver Sparkle Peep Toe Court Shoe from Next’s range of bridal shoes. A platform sole optimises the comfort of a high heel, too, by lowering the angle of the foot. However, with a heel this high it’s still a good idea to invest in some stick-on support pads for the balls of your feet to help keep you comfortable all day long.

It’s important to note here that flat shoes may also be glamourous and if you’re concerned about wearing heels and ending up standing taller than your groom at the altar then this is likely to be the best way to go. But to up your sense of occasion when choosing flat footwear styles, be sure to go for something embroidered, either with lace (a big fabric trend for S/S 2012), beading, sequins, jewels or glitter. However, if your chosen shoe features any kind of protruding jewel design, be sure that this is unlikely to be able to catch your dress as you move.

To compromise with a low heel, always go for a kitten style. Block heels and wedges simply don’t boast the same femininity or gracefulness as a thinner, more shapely heel. Slingbacks can be a good choice here, providing a good balance between comfort and glamour.

For a quick guide to evaluating footwear styles and balancing classic styles with on-trend elements check out this wedding shoe review and hear what some of the wedding shoe experts have to say on the matter.