Upon securing the historically famous & gorgeous Old Royal Naval College—which Empire magazine has touted as “the most popular filming location in the world”—I was presented with the challenge of developing a design concept that both embraced the locale’s rich, illustrious past (originally designed by English architect Sir Christopher Wren as a haven for retired veterans of Britain's navy), while also creating an entirely new chapter in the story of a space that’s played backdrop to countless Blockbuster films. My first step, therefore, was to map out the shoot onto lesser known areas of the venue (& not just because the Painted Hall was undergoing renovation at the time)—which encompassed the campus’s oldest collection of buildings known as the Admiral’s House.
I wanted to design a styled shoot that not only bolstered the antiqued aristocracy exuded by the space, but one that also nodded to the venue’s military roots. And so, a decadent, masculine look imbued with Old World glamour emerged across my many mood boards. I sought to bring organic, raw & unexpected textures—including speckled pheasant feathers, brassy copper metals, leather hides & vintage woods—to a rich color palette of deep burgundy, juniper green, navy, ivory & bourbon-infused hues.
Surrounded by the dignified wooden paneling of the Webb Room, the tablescape featured modest, low center pieces of deep plum ranunculus with anemones offset by ruscus greens & spotted feather accents to evoke a sense of organic simplicity. Special attention was also given to the apothecary bottles used as floral vases, which were dredged from the River Thames that borders the venue. The jeweled tones of burgundy chairs, maroon taper candles & floral with the delicate smoky & baroque goblets juxtaposed with the masculine styles of the copper flatware and intricately carved wooden chargers created a dark, yet romantic aesthetic reminiscent of still life paintings & old film photography. This same juxtaposition is mirrored in the layers of the exquisite cake, with tiers of marbled maroon, metallic copper, navy tweed texture punctuated with dapper feather accents.
The finer details included brassy candle holders, leather cuff links & an “I do” ring holder, wooden & burgundy/gold ring boxes, an antique violin & an invitation suite with copper & navy elements and vintage stamp accents. Sweet treats of marble-textured cookies, doughnuts & mini cakes accented with copper foiled leaves & berry compote were artfully displayed in a vintage wooden hutch and whimsically accented with lace & apothecary bottles. These micro details worked in tandem to further imbibe the shoot with the opulent color palette & masculine textures reminiscent of handsome, sepia-toned aristocracy.
Moving outdoors, our couple was set against the architectural grandeur of the campus & breathtaking balustrades of the building exteriors, which Natasha Hurley captured on both digital & analog film—adding the authentic grittiness of photographic emulsion to the vintage feel. The couple was photographed in two different wardrobes (Sienna Von Hildemar & Beggars Run)—including a debonair brown lambswool suit & an understated (romantic), effervescent gown that worked so effortlessly with the timeless, windswept campus. The masculine motif was echoed in the speckled feathers of the groom’s boutonnière & those interspersed in the bride’s bouquet.
Through deliberate, detailed design & the cross-continental collaboration of vendors, we were able to convey (impart) an entirely new (and old) story at one of the most historically rich venues in the world.