Chantal Mallett is a masterful corsetiere and remarkable craftsman who has recreated the opulence of 18th century haute couture with her period inspired bridal gowns and accessories. Established since 1996, Mallett has been producing one-of-a-kind, made-to-measure, high spec wedding gowns fit for 18th century elite but with the modern woman in mind.
Her signature pieces include ornate French inspired couture and Elizabethan influenced, full skirt gowns made from luxurious fabrics like crushed velvet, silk, satin, taffeta and lace and embellished with gold braid, crystal and pearl beadwork. Combining colour with skilled corsetry has allowed Mallett to create pieces that are alternative and unique to her and her clientele. Described as “avant-garde”, Mallett’s pairing of non-traditional bridal gowns with uniquely detailed accessories, lends a revolutionized approach to outfitting the modern bride.
Interview with Chantal
Your work is a tribute to 18th century haute couture. When did you first become interested in this era of fashion?
Well… I wouldn’t say it’s a tribute to the 18th C; my work is inspired by the 18th C and the corsetry, in particular, as a jumping off point. I’ve loved period clothing for literally as long as I can remember. When I was in school it was the only aspect of history I found interesting. Whilst in school I would buy W Magazine and Vogue and, at the time, haute couturiers had a lot of coverage of their high end work in those magazines. A lot of it was very lavish and period inspired. Westwood in particular made an impression with her corsetry – the low necklines and cleavage enhancing shapes were so feminine and sexy.
You are a master of corsetry. Can you tell us about your background training in corsetry and period design?
Largely self-taught. I studied for a HND [Higher National Diploma] in Fashion. I didn’t study costume and was taught a certain amount of basic pattern cutting. But to make my own corsets I hit the books. I worked off a dummy, drawings of old patterns and the layout of the boning and drafted my own patterns. And the longer you make made-to-measure, the more you learn and [the] more fastidious and perfect the fit.
What influenced you to use your designs for a bridal business?
It started with my final collection at college. I wanted to do something that would benefit my portfolio moving forward. Grunge was in fashion and I was far more inspired by costume and haute couture. And it seemed to me that there was only one area where one could still wear such garments and that sector was bridal wear. And therein was sown the seed for a career in bridal design. Your label is mainly about bespoke wedding gowns and accessories as opposed to designing specifically for the high street.
Does that make it easier for you to bring your designs and imaginations to life?
How challenging has it been to swim against the commercial tide with such non-traditional designs? Swimming against the high street is fine, you carve a niche for yourself and for the like-minded women out there looking for what you do; and you only need enough clients to keep you in business. But getting press is difficult. Twenty years ago, no one did corsets or separates or colour so getting any press was really hard and getting into a photo shoot even harder. Certainly marching to the beat of my own drum means I make what I please and clients come to me because they love what I do; so when I work with them, I make what pleases us both. Win, win.
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