Tip : Bridesmaids Dresses



Liaise with the bridesmaids and/or their mothers (if applicable) to ensure colour and style co-ordination.

Discuss whether their outfits will be purchased, hired or specially made and who will pay.

Agree on a suitable, taking into account the personality, proportions, height and figure of each one (accentuate good points and minimise the rest)

                      length and shape of dress
                      sleeves (depending on the time of year)
                      trimmings and decoration
                      fabric (depending on the time of year)

Agree on the colour, taking into account the colour hair and complexion of each bridesmaid

Our new bridalwear designer has arrived, introducing Yemi Osunkoya ...

Yemi Osunkoya is the designer behind the Kosibah label. Kosibah is an exclusive brand specialising in figure enhancing bridal, evening and formal daywear.

Kosibah specialise in contemporary and elegant couture bridal, evening and formal daywear using luxurious fabrics and sumptuous embellishments. Yemi’s signature use of corsetry and boned bodices cleverly recreates the classical and elegant hourglass figure, producing gowns that curve, shape and flatter the wearer. All gowns are made to measure

The team at Kosibah are committed to providing exceptional quality of service and meticulous attention to detail. The designs, made from individual body measurements, use luxurious fabrics, sumptuous embellishments and couture techniques.

About Yemi Osunkoya....

The seeds of Yemi Osunkoya’s fascination with fashion in general and bridal wear in particular were sown at his first high society wedding in Nigeria.  From then on, whenever he accompanied his parents to social gatherings, he would feel compelled to draw the dresses and guests after the function.   So began his life-long love of figurative drawing.  As he entered his teenage years, Yemi fell under the spell of the glamour and sophistication of Bob Makie’s costumes for Diana Ross and Anthony Price’s gravity defying gowns for Jerry Hall.  A career in fashion design was beckoning.

After a degree in Textile Design at Obafemi Awolowo University, Nigeria, Yemi completed his studies at the Paris Academy of Fashion, Oxford St, London, gaining top marks in both men’s and women’s wear.

Yemi completed his studies in 1990 in London at the height of the recession.  But, undaunted by the economic climate and determined to make his own mark, Yemi decided to strike out on his own and founded his own design label Kosibah.

It was natural that he would name the company in honour of his greatest supporter: his mother, Cosiba. The name Cosiba comes from the Republic of Benin and is the Day Name given to a female child born on a Sunday.  However, in deference to the Yoruba tradition of not addressing elders by their first names, Yemi changed the spelling of the company name slightly as a mark of respect.

Yemi has worked hard to make Kosibah a truly global brand, but with clientele particularly well represented in the UK, USA, West and South Africa and the Caribbean.   Among his celebrated clients, Yemi counts Lady Janet Boateng, Dianne Abbott MP, Kelly Rowland, Alesha Dixon, Sheila Ferguson, Hollywood actress Indra Ové, Louise Rose and members of several royal families in Nigeria and Ghana. Still on Yemi’s wish list of celebrities to dress are Oprah Winfrey, Michelle Obama, Padma Lakshmi, and Keira Knightley.

Yemi with Alesiha Dixon



Despite A-list success, Yemi’s designs are firmly rooted in the desire to make every woman look and feel good.  Drawing on his African roots, Yemi’s designs celebrate the curves and shapes of real women.  His signature use of corsetry and draping creates gowns that flatter and enhance every woman’s figure.  And his long experience of providing a personal attentive service to each of his clients means that he is now an expert in providing exactly what his clients want.

He also draws inspiration from the vibrant, multicultural life of London which is now his home.  The capital’s diverse populations allow Yemi to fuse influences from across the world into his designs with the luxurious fabrics, sumptuous embellishments and meticulous attention to detail associated with the finest traditions of Parisian couture.

INSPIRATIONS BEHIND KOSIBAH...

1. Diana Ross – In my teenage years, I fell under the spell of the glamour and sophistication of Bob Makie’s costumes for Diana Ross. I just loved the way in all her concerts she went through numerous changes of uber glamorous gowns. This has had a long lasting effect of my designs.

2. Anthony Price – Again, growing up, I very much admired Anthony Prices seemingly gravity defying gowns for jerry hall and Paula Yates. It was very obvious that there was quite a lot going on inside the gown not visible from the outside to create such figure enhancing gowns. Over the years, I have developed techniques that achieve the same effect of recreating the classical hour glass figure.

3. The 50’s New Look era. I spent hours in the library as a teenager pouring over books featuring the New Look era. Designers such as Christian Dior, Cristobal Balenciaga and Hubert de Givenchy produced such beautiful, exquisitely made couture gowns. I’m very drawn to this golden age of couture where so much of what made the garment what it was on the inside of the gown.

4. Growing up in Nigeria, West Africa, I was used to seeing women of all shapes and therefore feel very comfortable designing for ‘real’ and curvaceous women. I following on from that, celebrating the female form is my main inspiration. Because all my gowns are bespoke and made from scratch specifically for each client, making her look and feel her best on her wedding day is my main focus. My signature use of corsetry and draping creates gowns that flatter and enhance every woman’s figure.

5. Finally, I also draw inspiration from the vibrant, multicultural life of London which is now my home. The capital’s diverse population allows me to fuse influences from across the world into my designs with the luxurious fabrics, sumptuous embellishments and meticulous attention to detail usually associated with the finest traditions of Parisian couture.

Here at La Roche UK we are very proud to have Yemi on board and thank him for this wonderful insight behind Kosibah and his talented work.

For more information, visit the website at www.kosibah.co.uk

or call 020 7424 8832. Visits to the studio are by appointment only.



Giving It That Personal Touch

He proposes...you accept! and the first thing you think is..’Oh My God! I have to plan my wedding now! Where do I start?’...

 A lot of brides to be panic at this stage and start telling their girlfriends and mums to buy bridal magazines and book wedding shows! This is all very helpful, but to take a positive, stress free and sophisticated approach is to hire a wedding planner; to make it bespoke to your needs and so nothing is left out! This does not have to break the bank!

In fact do some research if you can get something cheaper than your wedding planner, tell your planner and let them see if they can match it or make it better! Challenge them! Work closely with your planner so it is what YOU want!

There are those who NEED a wedding planner, and there are those who WANT a wedding planner!  

If you are living some distance from where the ceremony and celebration is to take place; if you have a demanding life which does not allow you the time to take on what is an extremely demanding project; if you are having a large scale celebration; if you want to make real savings on your budget; if you want the security of knowing there is someone with you to take the strain; you probably do NEED a wedding planner.

Hiring a Wedding Planner is no longer a luxury few can afford and it is no wonder couples WANT a wedding planner to ensure that all goes smoothly as there are so many “i”s that need dotted and “t’”s that need crossed!   No matter the scale of the ceremony and celebration, attention to these details is key. 

There are ways to maximize every budget and having experienced consultants on hand to assist in this aspect of your planning is extremely worthwhile.  If you want your venue to be dressed in a way that will wow your guests, you can get that  taken care of the styling and just having someone there on the day to ensure that all goes smoothly is of significant valuable to any couple.

Some brides make the mistake of having family and friends to help out and take care of the organization of their weddings, which is very sweet and thoughtful, but don’t you think they want to see you get married instead of sorting out the caterers? I know in a typical Asian bride’s wedding, its on a large scale of guests up to 500 which is a norm, and there is a lot of work to do, which is not possible without planners and managers taking care of every detail, otherwise you will have detail lacking and it will become very obvious to those observant ones ! everyone attending your wedding should be a guest including you, your friends and family!

It’s your one day everything should go smoothly and perfect, and you want the people close to you to see all the precious moments! I always get a lot of brides asking me  ‘is it too late to start planning my wedding?’
‘How long should I realistically need?’and various other questions relating to this subject...In all honesty, you should start THINKING about planning as soon as you say ‘yes’!

Make notes, make plans, write down things you think of, some brides keep a little diary/book so all ideas are in one place. But when starting to plan, like above get all your ideas together when booking your wedding planner/co ordinator show them your ideas and make sure they know what you want from these ideas!

Realistically a full wedding from 100-500 people can take from 5-8 months planning to perfection.

When you go to wedding shows and exhibitions, go to the big city shows. For example if you live in London go to the city shows, well known, and with a lot of exhibitors so you are spoilt for choice.
this is important so you can get different quotations from different types of companies as there are more of them, quotations are important, note them down, compare them to others, quality is important though, remember when you want the best, and quality is important to you in a certain area, then prepared to pay the price!

So budgeting is very important, you should have a realistic budget for EACH area of your wedding.
get realistic quotations, and set aside ‘security money’ just in case somethings falls through or you exceed over your budget.

If you have questions or queries please contact me for a free, no obligation consultation regarding your engagement/wedding. I specialize in all Christian, Hindu, Muslim, Sikh weddings. I am available UK nationwide, based in London.

Facebook: ST Weddings & Events
‘Giving It That Personal Touch’

http://www.personaleventplanner.co.uk/
info@personaleventplanner.co.uk

Men's Formal Attire

Two common, formal options for grooms are the tuxedo and the morning suit.

1. Tuxedo

The classic tuxedo is a single breasted three button or one button jacket with satin trim. The trousers can be pleated or flat front and might also have a satin trim. The tuxedo can be accessorized with a necktie or bow tie, vest or cummerbund. The tuxedo jacket can also be found in a double breasted version. This suit will draw attention to the midsection; therefore, the whole ensemble will look best on a man who is tall and slim.

2. Morning Suit

The morning coat or cutaway jacket is a suit jacket with a single button at the waist and one broad tail at the back. These jackets usually come in black or grey and are typically worn with a wing-collared shirt, an ascot, a cummerbund, and striped trousers. The groom can dress this outfit up by adding gloves, a top hat, and a walking stick. To tone down the formality of this look, the groom can wear a patterned necktie instead of an ascot.


These suits can be accessorized with special lapels, and a variety of shirts, ties, vests, and cummerbunds. Generally, there is freedom in combining these accessories; however, some accessories are exclusive to one another. For example a cummerbund should only be worn with a bow tie or ascot.

When assessing the overall look of a suit, little details go a long way. The lapels of a suit jacket for instance, can completely change the appearance of the suit. Just as the neckline of the bride's gown will frame her face, the lapels of the suit jacket will frame the face of the groom. The three main types of lapels are


1. Notched lapel:

This lapel have "V" shaped cuts pointing toward the groom's chest, where the collar and the lapel meet the jacket.

2. Peaked lapel:

This style includes two points of fabric on either side of the jacket positioned in an upwards direction. With this style, there is a narrow space between the collar and the lapel.

3.: Shawl collar:

A rounded jacket lapel that continues back in a softly tapering line. A satin piping at the seam can add a very attractive dressy touch. This style is a great choice for men who are heavier as it creates a more vertical line.







Grooms can also choose from several different kinds of neckties.

1. Ascot: A wide necktie that is looped over and held in place, under the chin, with a tie tack.

2. Bow: Tied in the shape of a bow, this tie comes in a variety of colours and patterns to match the vest or cummerbund.

3. Euro: A long, knotted square-bottomed necktie.

4. Four-in-hand: Slightly different than the euro, the four-in-hand is the most common long knotted necktie with a "V" cut at the bottom.


The cummerbund is a pleated silk or satin sash, worn at the waist, to cover the trouser waistband. It is only worn with a bow tie, not a knotted necktie. The vest, on the other hand can be worn instead of the cummerbund to cover the trouser waistband.



Cultural wedding dresses

Some brides may wish to wear a gown or ensemble that reflects their cultural tradition. Traditional gowns can have special details added to integrate the bride and groom's culture, or the bride might choose to wear the cultural wedding attire. Below are a few examples of cultural wedding ensembles.

• Indian brides traditionally wear a sari, which is a long length of fabric wrapped numerous times around the waist and draped over the shoulder. It is worn with a blouse called a choli or ravika, which has a low neckline and short sleevs. Variations to this outfit will include an exposed back or midriff, as well as loose-fitting trousers.
• Scottish brides often wear a white dress with tartan trimming, commonly known as plaid. Scottish 'clans' or surnames each have their own unique tartan designs. The ensemble is then accessorised with a tartan shawl or a tartan sash at the waist.
• Chinese brides traditionally wear red to symbolize good luck and to ward off evil spirits. Chinese brides might also wear a red crown. During the wedding events, Chinese brides will usually dress in three different outfits.
• Japense brides often wear a white silk kimono for the ceremony. After the ceremony, the bride changes into a red silk kimono, embroidered with Japanse folk symbols.
• African brides tradionally wear tunic style dresses and headdresses made of African fabrics. Cowrie shells are often included in the gown trim and headpieces to encourage fertility.
• Traditional Jewish bridal attire usually cover the body, showing little or no skin. If the ceremony is being performed in an Orthodox synangogue, the shoulders are covered, and the gown may have full or three-quarterd length sleeves. The neckline is high, the back covered, and the skirt is ankle length.
• A Spanish bride may wear a soft, long black gown and an intricatly woven lace veil, typically the manilla veil. Latino brides wear similar esembles, although the Latino bride's gown is usually white, with accents of red and black. The gown is covered by a small balero jacket, which is a short jacket with an open front. For more informal weddings, Latino brides may wear a flamenco dress. These long gowns have multiple ruffles on the dress an sleeves, which highlight the drama and expression of traditional Latin dancing.
• Muslim brides tradionally wear robes of a rich cherry red colour. A ghunghat, similar to a veil, is worn by the bride and covers not only the head, but also the shoulders, back, and waistline, all the way around the body. Typically, the Muslim bride recieves her wedding attire from the groom's family.

Adding cultural elements to the bride's wedding ensemble is a very special way to personalize the wedding and honour the traditions and backgrounds of the bride and groom.

Variations on traditional gowns



Many options are available for brides who would like to wear something other than a traditional white gown. Colour in wedding attire is becomeing much more popular. From light pastels to deep, rich tones, brides can enhance their style and uniqueness by choosing a coloured wedding gown. Certain meanings area associated with different colours.

If you are a bride-to-be considering a coloured wedding dress, let me remind you of the following traditional rather gloomy, rhyme:,

Married in White, you have chosen right,

Married in Grey, you will go far away,

Married in Black, you will wish yourself back,

Married in Red, you will wish your self dead,

Married in Green, ashamed to be seen,

Married in Blue, you will always be true,

Married in Pearl, you will live in a whirl,

Married in Yellow, ashamed of your fellow,

Married in Brown, you will in the town,

Married in Pink, your spirit will sink.

Variations in length are becoming more common as well. Tea-length gowns have a hemline that sits around knees. This creates a lighter, softer silhouette, particularly for summer and outdoor weddings. Intermission hemlines, with the front of the gown's hemline hitting the knee or mid calf, while the back of the gown drops to the ankle, are a popular and dramatic choice.

For women who have been married before, or those who are a little more mature, trouser and skirt suits are a welcome alternative to a more formal gown. If the bride is not a fan of dresses, a trouser suit can be a very regal alternatice to traditional business suits, wedding suits are created with dressy fabrics and shiney detailing. This variation allows for a simpler, yet feminine and beautiful wedding ensemble.

For brides who love vintage looks, or who are planning a themed wedding based on a previous era, a vintage gown might be the perfect choice. Brides can choose an authentic vintage dress or a vintage-inspired dress. Real vintage gowns can be found at consignment shops or vintage boutiques. Reproductions can be custom-made or found at speciality wedding boutiques.

For brides who are planning a destination wedding, a traditional full-length gown might not be the most comfortable option (or the easiest to travel with!). Whatever attire is chosen, it should be sturdy enough to handle packaging, travel, and any outdoor venues such as tropical and beach destination spots. Ideally, the gown would be light, perhaps short, without a  long train, and made of fabric that can easily be steamed free of wrinkles.



The wedding gown

In every little girl's childhood wedding fantasy, one element always seems to take centre stage - sometimes even over the ideal groom! That one special item is, of course, the wedding gown. A bride's wedding ensemble, whether it's a traditional long gown, a flirty knee-length dress, or a chic suit, should make her feel radiant, beautiful, confident, and comfortable on her wedding day.

If you are a bride-to-be looking for a traditional long, formal gown, you will find many different styles and designs are available to suit all different tastes and body types. Ideally, the bride should begin shopping for her gown nine to twelve months before the wedding and order her dress at least six months before the wedding (to allow time for alterations).

Rememberm that depending on the formaility of the occasion, certain styles may be inappropriate. Save the more risque silhouettes for the hen do ;)

History and tradition of the wedding gown

In one form or another, the wedding gown has been around for ages in North America and Europe. Varying in colour and style from era to era, the wedding gown has been long been the centrepiece of this wonderful and symbolic occasion. In 1840, when Queen Victoria married Prince Albert, white became the colour of choice for wedding gowns. Before 1840, blue was the typical colour, as it symbolized purity and innocence. The general public was quite surprised at Queen Victoria’s white gown. Brides began to copy her and soon white became the standard colour.

Throughout the nineteenth and twentieth century, gown styles varied, but they all defined the natural curves of the female body and remained, for the most part, white. In the early to mid-twentieth century, gown styles began to change,allowing for the apprearence of more skin and more colour variations. Mirroring the liberation and equality of women, wedding gowns became a product of individual expression more than a right of passage.