As Martha Louise began her long walk down the aisle on the arm of her father King Harald, she looked every inch a fairytale princess. Her wedding dress, by favourite designer Wenche Lynche, was medieval in concept, made up of a simple scoop-necked under-gown in pale ivory satin topped by a parchment-coloured surcoat.
Featuring a raised, open-collar and flared sleeves, it had a four-metre-long train which narrowed, heart-like, into a delicate point. It was an unusual design detail echoed in the dress’ neckline, its striking peaked shoulders and the shape of the princess’ bouquet.
The 36-year-old Norwegian designer behind the royal gown once worked for Stockholm’s opera house and is renowned for her dramatic creations and interesting use of decorative symbols. For Martha Louise’s 30th birthday festivities, for example, Wenche’s design for the princess’ dress incorporated the number 30 into its detailing. It was not surprising, therefore, that the embroidered and beaded edges of Martha’s heavy silk surcoat, had a special significance for the happy couple, bearing a motif made up of “M” and “A” – the bride and groom’s initials.
The initials theme was also reflected in the diminutive M and A bouquets which were carried by the flower girls and united by a flowery heart borne by the pageboy.
Crowning her upswept hairstyle the bride wore a pearl and diamond tiara which supported a simple white veil and matched the splendid single pearl drop suspended on a diamond-encrusted chain which she wore around her neck. Classic pearl and diamond earrings completed the look.
The Norwegian princess’ bouquet, a low-key combination of pale green and cream tones, included among the lily of the valley and orchids a pair of large lilies. The delicate blooms were a touching gesture, honouring her grandmother who carried the same blooms for her nuptials to Crown Prince Olav in 1929.
Photo: © Alphapress.com
Photo: © Alphapress.com
Photo: © Alphapress.com
