The Scottish Mail on Sunday - You
STEAL THE SPOTLIGHT IN SEQUINS
it to the front, and as the Queen and her entourage passed by, I caught only glimpses of her through the crowd ‒ slices of dove blue, jigsaw-like fragments of her dress, coat and hat that I would later piece together to make out the Queen. The Queen’s public wardrobe is a carousel of carefully curated shades worn entirely for the purpose of being ‘easy to spot’. The power of colour to leave an imprint on us is a styling technique learnt by political leaders, celebrities and royalty alike. For those in the public eye, a wardrobe of bold ensembles will demand our attention and improve their chances of being remembered.
In those first moments of being seen, it is the colour we have chosen to wear that will encourage others to make assumptions about us. Therefore, it is common when I first meet a client to discuss a design that she will have a definite idea of the colour she wishes to wear, rather than a silhouette or fabric. I am no different: when I am asked to an occasion that requires me to ‘dress up’, colours instantly pop into my head as I contemplate the event. Then I step back to judge the appropriateness of my initial thoughts.
WHEN IN DOUBT, DEFAULT TO BLACK
I feel safe in black, grounded and stylish, comfortable in the colour that says, ‘look at me, don’t look at me’. It is an easy shade to match, and I blend textures with different weaves and fibres: satin, crepe and lace.
A wardrobe of black provides a multitude of interchangeable possibilities and, as my style has shifted, I have simply added a new silhouette and utilised the adaptability of monotone classics.
I’m not a minimalist designer – no one would say that. Embellishment has been an integral part of my creativity for more than three decades and is in the brand’s DNA. Looking back to when I started designing, I think I knew I had to find a way to get my work noticed, and so I began experimenting with texture. This attention-seeking ploy worked and
I was hooked.
Take sequins, for example. They are a simple way to create shine by adding small foil or plastic sewable discs. Easily applied, they can be attached to a style to add instant sparkle, and in a bright light they become resplendent.
They are classless, timeless, have a multicultural appeal and are an indispensable ingredient in creating glamorous fabrics. While embellishment is not exclusively worn on important occasions, it is at these times that it shines the brightest, reflecting the desire to be acknowledged and respected.
‘THE QUEEN’S WARDROBE IS A CAROUSEL OF CAREFULLY CURATED SHADES WORN FOR BEING EASY TO SPOT’
F I N D I N S P I R AT I O N ANY TIME, ANYWHERE
Our very first show at New York Fashion Week for spring/summer 2011 was inspired by the decadence of the 1930s. After I took my bow, I waited anxiously in the wings to find out if I had managed to catch the imagination of my new audience. Had they come with me to my glamorous English garden party?
Not long after, the actress Emma Roberts wore the platinum beaded backless sheath to a premiere in LA; Glee star Jayma Mays looked pretty in peachy chiffon at the Screen Actors Guild Awards and Sandra Bullock wore a one-shouldered beaded tulle dress to the Golden Globes. The Duchess of Cambridge’s first Jenny Packham dress was also from this collection – a sequined sheath for the ARK tenth anniversary gala.
It’s the same when I design a bridal collection – each dress must have its own divine inspiration to create both the drama and excitement the bride desires. In the back row of a concert in Majorca, I doodled a lace-backed gown with a draped chiffon bodice, copying the sleeve detail from the blouse of a woman three rows in front. The Aspen gown became a bestseller and in 2012 the Duchess of Cambridge wore a teal version to the London Olympics gala reception at the Royal Albert Hall.
CONSIDER EVERY DETAIL
Actresses take their time to perfect their look. To be ‘red-carpet ready’ means being prepared to be scrutinised by the world’s press, who will sharpen their focus on your every angle, bulge and wrinkle. Each detail is crucial, from the curvature of the seams to the swoop of a neckline.
HAVE A RESERVE FROCK
I never assume a dress is going to be worn on the red carpet. I know what can happen ‒ because I do it too. I have a dress waiting: shoes, clutch bag and jewellery, I even know the shade of lipstick I will wear. Twenty minutes before the taxi arrives, I zip up the dress, slip into the heels and clip on the earrings. I’m ready. I look in the mirror – and then I get changed. Somehow my mood and look have become discordant, and I feel uncomfortable. Panic ensues as I try out new combinations and fling my discarded skins about the room. My husband Mathew waits in the street for the taxi, just as I declare, ‘I have absolutely nothing to wear.’
This is an edited extract from How to Make a Dress: Adventures in the Art of Style by Jenny Packham (Ebury, £22). To order a copy for £18.70 until 14 March go to mailshop.co.uk/ books or call 020 3308 9193. Free UK delivery on orders over £20