When you consider that Chapman was married to Harvey Weinstein, who has long been said to have buoyed the fashion company both financially and strategically, and whose recent takedown exposed the dark ways our real-life princesses have been victimized, it’s hard not to reconsider Marchesa’s role in a post #metoo world. Perhaps more than any other designer of the past decade, Marchesa is best-known for consistently dressing our equivalent of princesses - brides, socialites, and celebrities - as the heroines of our modern-day fairy tales. Marchesa has created gowns for Miss Havisham-type Victorian princesses (fall ’11, later worn by Penelope Cruz at the Cannes Film Festival), Japanese princesses conceived by ‘20s explorer Aimee Crocker (spring ’18, later worn by Julianne Hough at the Emmys), and Neoclassical princesses painted by artist William-Adophe Bougeuereau (fall ’12, later worn by Kristen Stewart at the premiere of Snow White and the Huntsman). Hardly a review fails to make these three references, despite the many inspirations and themes designers and co-founders Georgina Chapman and Keren Craig have cited, including heiress Marchesa Luisa Casati, the woman the brand was named for. Since the Marchesa brand first debuted in 2004, it has often been described by notable fashion critics in the exact same way: as a fairytale, for princesses, and a celebrity red carpet favorite.
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