The Bride Wore a Victorian Tiara for Her Fairytale Wedding in the Cotswolds
A blizzard had descended upon New York City when Moda Operandi deputy editor Tatiana Hambro was introduced to art dealer Walter Graham Arader IV over drinks. “The plans were made last minute, and I did not go to work that day dressed for a first date,” Tatiana admits. “I wore an ice blue shearling coat, vintage bell-bottoms, and pink translucent spectacles. Walter later described my look as ‘very English’”—which she is.
Not long after, a proposal followed, somewhat spontaneously, over Christmas lunch at Tatiana’s father’s home in the Cotswolds. “If you ask Walter, he will tell you that he was planning on waiting until the New Year, but after successfully gaining my father’s permission only a few hours prior, the ring was burning a hole in his pocket.”
The first time Walter visited Tatiana’s family in the Cotwolds it happened to be a blissfully sunny English weekend. He fell in love with the green rolling hills; they reminded him of his childhood in Virginia. There was no question in his mind that he wanted to get married there, and after some thought, she agreed. “We wanted the wedding to be an intimate gathering of friends, to feel more like an authentic family celebration rather than a formal event, so it made sense to have it at home,” Tatiana explains. The aesthetic followed suit, and the couple worked with Garth Kelly to create an elegant but relaxed event that was designed to be a reflection of the English countryside and the way that Tatiana’s family lives.
The bride approached her wardrobe from the top down, basing everything around her family’s tiara, which dates back to the 1800s. “The tiara is crafted from diamonds forming into five peaking rosettes, which give it a medieval, fairytale-esque romance, even though it’s Victorian,” Tatiana explains. “When it came to the gown, I went to Moda Operandi and a few traditional bridal houses to see and try a little of everything.”
Funnily enough, it was her father who was the most opinionated on the matter, advising her to go the bespoke route and suggesting that she choose a less obvious designer. On the advice of her stepmother, Tatiana was introduced to Barbara Tfank. “She conveniently was thinking about venturing into bridal,” Tatiana explains. ”We met and decided to create something unique together. It was very much a family affair that happened organically.”
Never one to shy away from irreverence, drama, and the creation of a true fashion moment, Tatiana began to explore and embrace the ’60s references that populate Barbara’s collections. “They’re very Jackie O. Very much the architectural lines of Cristobal Balenciaga,” she says. “Barbara is really all about fabric. She sourced this staggeringly beautiful white French brocade.” It was exceptionally light, delicately textured, and embroidered with iridescent Lily of the Valley florals, which carried special meaning for Tatiana as they were her Yiayia’s—a.k.a. Greek grandmother’s—favorite flower. Tatiana also carried Lily of the Valley along with fragrant freesia blooms in her all-white bouquet.
The dress was a column silhouette that gently skimmed the body, with a semi-batteau neckline and a watteau double panel back train that followed behind—it measured just shy of 90 inches from shoulder to finish. “I wore the train formally for the ceremony, and then knotted it casually in the back for the reception and dancing,” Tatiana says. “At one of the last fittings, we decided to add an almond-shaped armhole, a detail inspired by an old Cristobal Balenciaga dress that Barbara and I both loved. The arm shape ended up being one of my favorite details.”
The veil, along with a pair of organza opera gloves, added a level of theatricality that would otherwise have been difficult to achieve. “Despite the casual setting of my childhood bedroom, putting on the veil was still quite a profound, ceremonious moment shared between my mother, sisters, and bridesmaids,” Tatiana remembers. Barbara had introduced Tatiana to Allison Miller, the founder of couture Italian bridal house Monvieve, who taught her about the importance of bridal accessories—not just historically speaking, but also to create a beautiful silhouette and image. Keeping the focus on the tiara and dress, they chose an ivory cathedral-length veil trimmed with fine French Chantilly lace, and added the gloves, which reached just past her elbows to mirror the high waistband of the dress. “I wore them down the aisle and took them off before the ceremony started,” she says. “My only regret is that I didn’t get to wear them longer.”
Tatiana finished off her bridal look with white satin Okkato low block-heeled shoes by Manolo Blahnik, each adorned with an antique brooch. “I wanted the tiara to look fresh and cool, so I decided against a traditional earring,” Tatiana explains. “Instead, I picked a fun pair of my grandmother’s costume earrings that my mom had brought with her. They were ‘diamond’ flower clip-ons by Kenneth Jay Lane.”
Everyone fell in love with the mother of the bride’s dress: A Girasole yellow brocade high-low gown by Barbara TFank that was equal parts dramatic and happy. “She coordinated with my step-mother, Jo, who was English perfection incarnate in a matching soft pink jacket, dress, and headband, also by Barbara, while my glorious new mother-in-law wore a printed Carolina Herrera dress in similar sunny hues.” Meanwhile the bridesmaids were a vision in Markarian dresses, all cut to tea-length. “We had a wonderfully vibrant range of attendees who embraced the country aesthetic, albeit with their own spin: Everything from pointed Christian Dior pumps to chunky Prada platforms...later switched out for Converse and cowboy boots. Thanks to the mix of European and American gentlemen, there were various interpretations on the end-of-summer suit with most jackets ending up draped round the ladies’ shoulders to combat a rather healthy English breeze. A notable mention goes to Llama Jabb, one of Walter’s teachers from Oxford, who wore traditional Tibetan dress, and also Walter’s father, who came in his usual khakis and sneakers.”
The couple was married in a Norman Church dating back to the 11th century, just a short walk from Tatiana’s family home. “My sister was married there a few years ago and she and my father started the tradition of leaving a single rose on my grandfather’s grave right before walking in,” Tatiana says. “We wanted to let the church speak for itself, enhancing its beauty with sensual music, lighting, and natural foliage sourced locally from the estate.” Large glass hurricane candles lined the floor, and silver Birch trees framed the alter.
