How Fashion Brides Dressed for Their Weddings in 2025

From the moment a person announces their engagement, life becomes a matter of questions, choices, decisions: the bridesmaids, the venue, the cake, the flowers. Chief among them, though, is the wedding dress, which must (and no pressure here) serve as both the apex of a bride’s personal style, while simultaneously transforming them into an unrecognizably Botticellian, princess-at-her-peak vision. Little wonder, then, that the process of finding the right dress can be just as tiring as finding the right spouse.

“The truth is, however ballsy you may be, there is something about a wedding dress—this mythical concoction of tulle and taffeta that’s supposed to encompass the essence of your style while also making you look like your very best self—that is quite simply crippling,” said the fashion journalist Katherine Ormerod, who memorably tried on 120 dresses before marrying in 2024, adding, “even for a woman like me, who has likely worn more dresses than you’ve had hot dinners.” But where better to seek counsel than from Ormerod and her peers? Here, eight fashion brides on the wedding dresses they wore in 2025.

Eniola Dare

Fashion editor Eniola Dare hosted back-to-back celebrations for her wedding weekend at Casterton Grange in Cumbria. For the first traditional Nigerian ceremony, she opted for a sculpted, chocolate-brown dress created in collaboration between Couture by Tabik and Woven Market Africa. For the second Western ceremony, she chose a sinuously beaded jersey gown by Standing Ground. “I messaged [designer Michael Stewart] in January 2024, and he replied within minutes,” says the stylist, adding that the starting point for the design was look 11 from the brand’s spring 2025 collection, and that she didn’t try on the garment until about a month before the wedding. “I just trusted him; I love his vision, I love what he does,” she says. “It fit like a glove.”

Jodie Hill

The dresscode for Jodie Hill’s wedding was—omg!—black. “I’ve never particularly felt comfortable wearing white… or dresses, so a ‘white dress’ was too overwhelming,” she says. “I decided very early on to wear black, as I wanted to be able to wear everything again.” For her ceremony at Marylebone Town Hall, the editor turned to New York label Commission, opting for a corseted blouse and a bias-cut mermaid skirt, before changing into a sheer Simone Rocha gown and, later, a lace Saint Laurent minidress. A reminder, perhaps, to follow one’s intuition, rather than trying to appeal to other people’s tastes. “We knew that if we were having fun,” she adds, “then everyone else would be, too.”

Iona Judd

As a fashion consultant, Iona Judd is paid to bring luxury brands up to her own assiduously honed creative standards, so when it came to planning her rural Suffolk wedding this spring, nothing could fall short. Imagining a vision of Pearly Kings and Queens (a nod to her Mile End roots) with touches of early Margiela, Gaultier, and McQueen, Judd enlisted London demi-couturier Ellie Misner to realize her dream wedding dress: a shimmering mother-of-pearl bodice—hand-embroidered with hundreds of second-hand buttons sourced from her late grandmother’s collection and her parents’ clothes—with an earthy raw-wool skirt. “It carried all the spirits of people who were, and are, so precious to me,” she says, in what should serve as a lesson in going sentimental without schmaltz. “I felt like a princess.”

Harley Weir

Harley Weir never imagined she would marry, but kept a “wedding” folder on her phone just in case. It contained a single image: look 26 from Dilara Findikoglu’s fall 2023 collection, which ultimately became the starting point for the corseted gown she wore to marry John Kelleher at Lismore Castle, just nine months after meeting the artist at a house party. Findikoglu was still putting the finishing touches to the dress the night before the ceremony, working with century-old, souped-up fabrics Weir had sourced on Etsy. Despite the delicacy of the handcraft, Weir took pleasure in watching mud creep up the skirt as she wandered the gardens post-ceremony, wearing Manolos found on Vestiaire and bleached in her bathtub. “It was this beautiful, ephemeral thing,” she says of the look. “I like clothes that have a story.”

Libertà Errani

Charli XCX found company among London’s It-girl brides when Libertà Errani married James Liveing at Islington Town Hall, before decamping to a family member’s home in Hampstead, with LoverGirl on the blooms and Lily Vanilli on catering. It was the publicist’s best friend—and best man—Nicolò Grechi who designed the dress: a sleeveless mini with a deconstructed train of cascading organza strands, which had been informed by the flou of Zimmermann and the lace work from Dolce & Gabbana’s fall 2012 collection. “With me based in London and Nic in Milan, we only met twice during the process,” she said. “I only saw the final dress on my actual wedding day, but the result truly was a dream.” The perks, I suppose, of having an exceptional Rolodex at your fingertips.

Jessica Gerardi

Jessica Gerardi, a long-time British Vogue fashion editor with Italian roots, exchanged vows in an olive grove at a rustic stone farmhouse in Umbria. While the groom wore a Tom Ford tux, Gerardi opted for a gown by Talia Byre—the British designer’s first foray into bridalwear. “I decided to approach my dress the same way I would any styling job, which meant starting with references,” she explains. “At the top of my moodboard was a ’90s Kate Moss in a white John Galliano slip, a diamond tennis necklace and Mary Jane Manolos. Then I came across an image of Cher on her wedding day, and everything clicked. Her look had the minimalist feel I loved, but with lace-trimmed panels and corsetry.” The result was a body-skimming ivory duchesse silk gown, overlaid with ’30s-inspired fine net lace tulle, its raw-edge seams running down the centre. A long, tiered veil completed the look, with intricate hand-appliquéd corded lace tracing its edges. “I have to admit, I was a little dubious about wearing it at first,” Gerardi adds, “but it brought the whole look together—and added a welcome touch of drama.”

Charlotte Reeve

“I had tried lots of options, but each one felt a bit… ‘bridal cosplay’,” says Charlotte Reeve, who is an associate director at an executive search firm behind some of the biggest hires in fashion. “It was around the same time that I saw Isabel Bonner posting on Instagram about looking to work with more brides, and so I called, and she understood what I was looking for in an instant.” The stylist duly initiated a sort of matchmaking service with the BFC/Vogue Designer Fashion Fund nominee Conner Ives. The result? A bullet bra meringue that rivaled the stiff peaks of even Miuccia Prada’s fall 2025 Miu Miu collection. “Bridal gowns sometimes tend to the male gaze, and the construction of that bra, which ran straight across the front, stopped it from feeling overt,” adds Reeve. “It felt sexy, but not at all sexualised, and there is something subversive about that.”

Daisy Lowe

Model Daisy Lowe and Jordan Saul dreamed up a “wild, natural” wedding in Somerset befitting their initial meet-cute in the rugged expanse of Hampstead Heath in north London. The dress was just as Rabelaisian: Vivienne Westwood’s signature Tabitha gown, featuring a custom bustle and a dramatic side slit. “When I put it on, I just lit up from the inside out,” says Lowe, who had always imagined herself as a “punky, provocative, and powerful” bride. “It felt very fitting that I wore Westwood on my special day,” she adds. “She was the designer I most wanted to work with when I became a model. I was so honoured to walk in her shows so many times while she was still alive. The way her clothes hung, her ethos and her irreverence inspired me.” Lowe is hardly alone. Miley Cyrus, Hailey Bieber, Barbara Palvin, Charli XCX, Lorraine Pascale—and one Carrie Bradshaw—have all turned to the late designer, whose work continues to inspire both a rebellion against tradition and, well, marital bliss.