Inside the Gown: The Materials AMALYA Works With

The question we hear at the studio more than any other is "what is this?" — a finger on a sleeve, on a lace motif, on a pearl. I choose every material that enters the studio by hand, so here is an orderly answer: the materials that make up a gown here, and the difference between them. (Pictured: Natalie, from the Spring/Summer 2024 collection.)

Lace

The studio's laces are commissioned in limited runs from mills in France and Italy. Most of the laces fall into three families (Chantilly, Alençon, and guipure) and differ in weight, density, and drape. A longer discussion of those is in the article on European lace.

Base fabrics

The base fabrics (silk, satin, tulle, organza, and others) come from regular European suppliers. They are the foundation the rest of the gown sits on, so they are chosen for how they behave under venue lighting as well as how they breathe through a long day. When an exact shade is needed, custom dyeing can be ordered from the European mills, and hypoallergenic lining options are available for brides with sensitive skin.

Beading

The beadwork uses Swarovski stones, glass beads in different sizes, sequins, and pearls. Every element is set by hand. A heavily beaded bodice can contain thousands of individual pieces and take between two hundred and four hundred hours of work.

Embroidery and finishing

The embroidery is done by hand, after the sewing. That includes joining the lace panels, stitching cordonnet around the motifs, and finishing the neckline and sleeve edges.

Why this matters in a modest gown

In a modest gown the materials have nowhere to hide: two full sleeves, a yoke, a closed neckline — every centimeter of fabric is visible to the eye and to the camera. That is why, to my mind, the choice of materials is the single decision that most determines whether a modest gown photographs well or not.

Want to feel the difference for yourself? Book an appointment and we will lay the samples out in front of you.