The One does exist. In the wedding dress department at least. In an era of individuality, during which bridal trends centre around colour-pop veils and alternative shoes, there is one gown that has a magnetic pull over women about to walk down the aisle. Enter: Vivienne Westwood’s Cocotte, a dress steeped in history, but with the ability to snatch a waist like no confection a Kardashian could even dream up. Brides don’t just stumble across the Cocotte, they are wedded to the thought of a timeless design that’s done both Hailey Bieber and Miley Cyrus proud.
Born in the ’90s after Westwood had established her fascination with 17th- and 18th-century salon culture via her Vive La Cocotte autumn/winter 1995 collection, the dress was directly inspired by the free-thinking French author Ninon de l’Enclos, who flitted about the arts scene in flat corseted frocks draped across the shoulders to enhance her décolletage. But while Westwood had these exquisite artefacts to thank for the Cocotte’s silhouette, the secret to the modern-day versions lies in their wearability.
“The skirt drape is flattering, constructed to mould to the body, while the fabric falls from the hip in a soft A-line, creating organic drapes which are reminiscent of ancient Greek statues,” says Brigitte Stepputtis, director of design, bridal and couture, at Vivienne Westwood, before sharing the real secret to its deceptive level of comfort: “Our signature corset is constructed with stretch side panels, which cinch the waist and create support but remain comfortable for the wearer.”
Ask any bride why the Cocotte clinched the deal for their big day and the word “corset” crops up immediately. “The fluidity of the heavy pearl silk satin on top of the boning delivers a silhouette like I’ve never seen before,” asserts Vogue senior social media manager Georgia Shepheard, who is planning a winter wedding this year. When the bride-to-be tried on her dream Cocotte, there were no tears, no earth-shattering levels of joy, just “a sigh of relief that it lived up to expectations”. “I entertained a handful of other designers and bridal boutiques, but they didn’t hold a flame to the craftsmanship of Vivienne Westwood,” she adds.
Katherine Ormerod, who wriggled into 120 dresses in her quest for the perfect Palm Springs wedding look, landed on the Cocotte only after a Vogue commission dictated that she frequent the London boutique in the name of research. “I didn’t identify as a Vivienne Westwood customer,” admits Ormerod. “But I put the dress on and it made my figure look like it’s never looked. The ratio of the effect of this dress, compared to the amount of effort that wearing it requires, is just wild.” Unlike other corseted options on the ivory gown scene, “there was nobody putting their heel into [her] back to fasten it” – just, rather remarkably, a simple zip.
“The only way to describe it is magic,” continues Stepputtis. “It’s transformative. It speaks of another time and culture. It’s also incredibly light, but cuts a powerful silhouette. It makes you feel confident and sexy.” The customisation options – think: mini versus maxi, Diva train or no train, and the choice of heavy silk satin, silk cady, antique white FSC-certified viscose crepe or beaded tulle – also ensure that few Cocottes are entirely the same. That instantly identifiable drapery? It can be pinned to look as daring or demure as you want, as shown by the actor Sophia Brown, who wanted to “embrace traditional bridal tropes, but unapologetically in [her] own way and on [her] own terms”. Brown’s wedding dress – which leaned into the historical side and “told a story” with a custom train – looked entirely different to designer Clio Peppiatt’s Cocotte, which she accessorised with a Chantilly veil. (When the queen of wedding party dresses forgoes her eponymous brand for a forever favourite, you know the Cocotte is good.)
For some alternative brides, it’s the spirit that’s sewn into the Cocotte’s seams that makes it a cut above the rest. “Planning a wedding always felt, to me, like a surefire way to lose sight of yourself,” shares former Vogue staffer Ellie Robertson. “I wanted a dress that I felt like myself in (granted the very best, most glamorous version), with all the contradictions that make up a real person, rather than a ‘bride’. I wanted to feel feminine but punk, sexy but elegant, special but not precious. No one understood that better than Vivienne Westwood.” Model Lorraine Pascal concurs: “For me, it had to be Vivienne, she was the heart, the soul, the rock and roll of British fashion.” The backing of a firecracker industry legend on an occasion that, let’s be honest, is full of nerves and expectations and egos, is something to always say “I do” to.
