Libri&Fashion, da Rebecca Chance arriva "Bad Brides"

La famosa scrittrice inglese, Rebecca Chance, autrice di numerosi best seller, tra cui “Donne con il tacco 12” e “Amori, bugie e tacchi alti” pubblicati in Italia da Newton Compton, durante le ricerche per la stesura del suo nuovo romanzo ha fatto visita all’atelier milanese di Massimo Panuccio e allo show room di Sussiebiribissi. Qui ha “scelto” gli abiti per le protagoniste del suo prossimo romanzo - Bad Brides - e i lampadari che arrederanno alcune delle location scelte.
Scrive Rebecca: "I’m so happy to have been able to feature the exquisite Sussiebiribissi chandeliers made by Antonio Di Meglio and the equally beautiful fashion designs of Sartoria Massimo in my latest best-seller. My books are all about luxury, glamour and elegance and the designs of both these hugely talented artisans are a perfect match for my novels. "

Bad Brides uscirà in UK e USA il prossimo aprile e in Italia a seguire. L’autrice ci ha inviato, in esclusiva, alcuni brani del manoscritto in cui sono citati Sartoria Massimo e Sussiebiribissi.

Estratto da Bad Brides:
"Here’s the sketch for Brianna Jade’s dress,’ Tamra said, clicking on the screen and laying the iPad in front of Jodie on the white table. ‘Designed for her by Massimo Sartoria in Milan. We have the first fitting next week. Lace georgette and silk gazar, in perfect clear white. Brianna Jade’s colouring can take that. It’s really going to pop in photos.’ Jodie gazed down at the exquisite sketch on the screen. The bodice and cap sleeves were in heavy lace georgette, the base of the bodice scooped into an elegant curve that would follow the line of the breasts: below that, silk gazar flowed down, snug to the line of the perfect figure outlined in the drawing, which, for once, was not a flattering elongation, but an exact reproduction of the shape of the bride. Below the hips was a wide band of lace georgette, under which more silk gazar, with a lace underla, flowed out into a flounce which was gentle in the front but spread out into a train at the back; it would actually be a double train, the silk layered over the lace, a striking effect which was only earned by the simplicity of the dress and the fact that both materials were used so effectively. ‘The silk will be sewn invisibly to the lace of the train,’ Tamra said, watching Jodie’s face with great satisfaction. ‘And it’ll be weighted, of course. This is couture, all handsewn by Massimo’s seamstresses in his Milan workshop. Exquisite, isn’t it? Of course, only someone with Brianna Jade’s figure could carry this off. The lace inserts would cut up a shorter girl.’
She didn’t need to say that Milly could never wear this dress, would be drowned in it: she didn’t need to. Jodie reached out and scrolled across, seeing another sketch; it was Tamra’s mother-of-the-bride dress, also designed for her by Massimo, a stunning silk satin wrrap dress, sleeveless, with a huge handmade silk flower on one shoulder, the wrap opening over an embroidered lace underskirt. It subtly echoed Brianna Jade’s dress, while clearly acknowledging the two women’s different roles at the ceremony, as well as their respective ages. But in the wedding photographs there would clearly be a beautiful coherence of the entire aesthetic"