The Tamesis
“The night before my wedding, my mother and father-in-law gave me these really beautiful 1920s earrings from SJ Phillips,” Wright shared of other special details. “I borrowed a great diamond necklace from Berganza, which is crazy. I don’t want to give it back.” Meanwhile, Charles added his grandfather’s black tie shirt buttons – surrounded by pearls and diamonds – to his Anderson & Sheppard suit.
The bride had planned to change into an outfit for the party at Villa Igiea, but The Veil co-founder Adwoa Aboah (who served as bridesmaid along with Jazzy de Lisser and Gala Gordon) refused to let her take off her dress. “Adwoa kept saying it was too pretty to take off, so she wouldn’t let me change!” Georgie recalled, adding: “I had to wear the cathedral-length veil on my arm while dancing – and I was so impressed with myself that I didn’t actually throw it away!” But the same could not be said for the slip she wore after changing into her second wedding dress the next night, by which time her feet were already suffering from 24-hour wear in Manolo and Aquazzura heels. But even the Jane Bourvis slip has Wright’s signature style, as she swapped out the dainty straps for three pretty beaded versions. The bridesmaids—Wright’s two sisters and Ruby Boglione—were tightly dressed in gowns designed by Georgie. So did the children at the wedding, who wore mosaic-style blue and gold dresses made by Wright’s mother-in-law.
Makeup artist Mayumi Oda was tasked with giving the bride an “instant makeover” thanks to her signature facial massages both mornings, while “dewy, subtle” makeup was the focus of the day. Hairstylist Pierre Saint Sever perfected a natural bun for the wedding day and a structured bun for the party, guided by Adwoa and Alexandra’s HMU mood board. “It was all art directed by them and I didn’t even think about it!”
Wright concentrated his efforts on decoration, including flowers. The tables in the cloister are covered with green leaves and dotted with white flowers, giving the whole space a wonderful freshness, while hundreds of candles make it even more romantic. The second evening, the bride took inspiration from the original frescoes in the villa’s sala basile reception room, which was filled with poppies and irises. But there was more to come – fronted by friend Anna Boglione (of Petersham Nurseries fame), notably – from the ice-filled fountain cum crudo bar and martini station lined with lemon trees, to a pink nightclub where Galivant played, and a memorable performance on the pink stage from Alan Ball and The Take Twos, who ended the night by belting out Oasis with every guest.
The topic of the party? Food creative director Fulvio Pierangelini’s signature ravioli. “Normally, he would only make ravioli for 30 people because he refused to do it the day before. But he made ravioli for 300 people, which was 3,200 people that day,” Wright shared. A three-tier pavlova cake garnished with wild strawberries pays homage to Wright’s heritage. “We’re very lucky,” she said with a smile.
Of course, eagle-eyed Instagrammers will have spotted another bridal look from before the Palermo festivities: the 1920s slip that Wright has been wearing for years, offset by a piano shawl she found in Portobello Market a week before the couple’s official wedding in London. The look, pinned with a borrowed Sandra Cronan brooch, was another example of the effortless yet considered style of one of London’s most exciting creatives, who took her entire network on an unforgettable trip to Italy.
