Had that other Kate and her beau not tied the knot or if there hadn’t been a competing wedding the same weekend, Kate Moss’ marriage to Jamie Hince would have been THE wedding to know about / read about this summer. I realize I’m a bit behind the times by only posting this now (see here or here for example), but I never claimed to be a trend-setter.

And now, because it’s Friday, I’m going to get REALLY lazy about the whole thing, and direct you almost exclusively to text provided by Hamish Bowles in his Vogue article on the topic. (My comments are the un-italicized remarks in brackets.) All photos from Vogue’s slideshow, unless otherwise linked.

A week before the nuptials, Mario Testino is photographing Kate’s wedding portfolio (she has shifted her date from Saturday to Friday to accommodate his schedule, reasoning, with a model’s canny logic, that the ceremony will last minutes but the photographs will be forever). Mario has known her since she was a fragile sixteen-year-old, crying her eyes out backstage at John Galliano’s first Paris show. In that dim, distant past, when a model’s success was judged by the number of changes she had in a show, Kate had been given only one outfit and was feeling unloved. Mario comforted her. “You know, in life there’s perfume and there’s cologne,” he told her. “Cologne, you have to spray every fifteen minutes. Perfume, you put a drop and it lasts a week. You’re perfume.”

“I wanted it to be kind of dreamy and 1920s, when everything is soft-focus,” says Kate. “The Great Gatsby. The code name was GG for a while. That light and that kind of fun decadence. It’s rock-’n’-roll Great Gatsby!”

“She was very professional and very demanding,” says Galliano, who was inspired by Jazz Age photographs of Zelda Fitzgerald.

The dress is spangled with tiny golden paillettes (Jude Law will ask him how on earth they are sewn on); in Galliano’s narrative it is as though the scullery maid had picked up milady’s fallen sequins to spangle her own dress. The skirts are symbolically licked with the beaded plumes of a mythical phoenix, “delicate and defiant, like Kate.”

When Kate appears in her Galliano finery, with her flotilla of bridesmaids and flower girls in their Bonpoint dresses, there are wolf whistles and applause in the church. “It’s the most beautiful thing I’ve ever seen in my life,” says Bella Freud, “like she just walked through some fairy garden and came out clad in that. It’s exquisite.”

The Second Looks Tent, for guests to change in after the ceremony [BEST IDEA EVER], is appointed like a Hollywood boudoir with faceted mirror screens, thirties standard lamps, and dressing tables heaving with pink and beige roses.

The guests, arriving through a romantic arbor of hazelnut trees, are an eclectic panoply of twenty-first-century fashion and cultural icons, including musicians Jack White, Bobby Gillespie, and Paul McCartney, and designers Stefano Pilati…, Riccardo Tisci, Dame Vivienne Westwood…, and Marc Jacobs… Manolo Blahnik (who made the bride’s blue-soled wedding shoes… Carine Roitfeld… Annabelle Neilson… is knocking back a White Russian “to get in the mood…” Daphne Guinness… Jude Law and Sadie Frost… [the guest list made me coo… and want more photos because never again will such a high concentration of beautiful and fashionable people all be in one place]

(The bride with her matrons of honor. Top row, from left: Stella McCartney, Vivienne Westwood, Jess Hallett, Kate Moss, Rosemary Ferguson. Bottom row, from left: Sadie Frost, Lucie de la Falaise.)

What I love most? How truly, purely happy she looks. Gone are the (stunning but cold) looks of the supermodel Kate Moss, and present are the blissful smiles of the newly married Kate.

Happy Friday!!!

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