The Bespoke Wedding Dress of Lady Violet Manners

As featured in Vogue.

It was an honour to create a bespoke wedding gown for Lady Violet Manners, now Viscountess Violet Garnock, for her marriage to Viscount William Garnock at Belvoir Castle.

Violet becomes the fourth bride of the Lindsay-Bethune family to wear a bespoke Phillipa Lepley gown, following in the footsteps of her sisters-in-law Frances, Kate, and Princess Charlotte, the Duchess of Noto. To continue this legacy with Violet was especially meaningful as Phillipa Lepley Couture approaches its 40th anniversary. Designing for families across generations – now welcoming daughters of some of Phillipa’s earliest brides – has become one of the most treasured elements of the Atelier’s story.

Violet’s journey began at the Phillipa Lepley boutique on Chelsea’s Fulham Road, where she met with Phillipa for her first bespoke appointment. She brought a carefully curated mood board – celestial references, personal symbols, and family heirlooms – ready to be translated into design. During this appointment she tried on a number of silhouettes from the couture collection, exploring the signature Phillipa Lepley feminine shape and how different cuts, corsetry, and fabrics felt on her. With Phillipa’s guidance, Violet began to imagine the bespoke details that would make the gown entirely her own: a sculpted ruffle collar, puffed sleeves, and cascades of ruffles through the hem and train. Bespoke hand-embroidery was at the heart of their conversation, with Violet excited to see how her chosen motifs might be rendered in fine thread and embellishment.

Among her inspirations was a photograph of her great-grandmother’s wedding gown: the 1933 Norman Hartnell creation for Margaret, Duchess of Argyll. Its embroidered stars were strikingly unusual for the time, bold yet refined, and became a defining thread of inspiration for Violet’s own design. Stars carried a deeper resonance still: Violet and William were married on the Summer Solstice, the longest day of the year, and had shared their first kiss beneath a clear December night sky. Thus, celestial motifs became a meaningful and integral part of the gown’s design.

Above: The wedding gown of Violet’s great-grandmother Margaret, Duchess of Argyll, designed by Norman Hartnell in 1933.

Once the design direction was clear, the Phillipa Lepley embellishment team began sketching florals and foliage – lily of the valley, violets, myrtle leaves, and jasmine blossoms – many drawn directly from details of the family tiara. These motifs were developed into digital illustrations, then translated into embroidery swatches exploring techniques such as satin chiffon and silk organza appliqué, satin stitch, couched cording, tambour work, and intricate pearl and crystal beading.

Violet returned for a design refinement appointment, where a full mock-up of the gown was presented. Embroidery placements were drafted across its panels, while paper spirals imitated the cascading ruffles that would later be cut in silk. Seeing her ideas translated into three dimensions was a memorable moment: her inspirations coming to life in tangible form. From here, embroidery swatches and cut-outs of flowers and leaves were composed across the gown’s paper patterns, building the flow of the design.

The gown itself was cut from ivory silk slipper satin with a fine tulle overlay, its hidden corsetry sculpting the signature Phillipa Lepley silhouette: a defined waist balanced by soft volume. The skirt skimmed the hips before flaring into a full hem, enhanced by ruffled godets that created both movement and lightness. The neckline was finished with an Elizabethan-inspired ruffled high neck collar, while short, sheer puff sleeves were sculpted to give Violet the strong shoulder line she envisioned, perfectly in balance with the rest of the gown.

The bespoke embroidery became a story in itself, each motif chosen with personal significance. From the family tiara came myrtle leaves, long associated with love and marriage, interlacing across the gown. Lily of the valley and violets, her namesake flower, nestled between jasmine blossoms, their star-like forms echoing the celestial theme. Suns and stars, delicately hand-worked in pearls and crystals, referenced both the solstice wedding date and Violet’s Leo star sign. Hidden within the threadwork were the couple’s initials discreetly stitched beneath the collar, alongside tiny hearts and celestial emblems scattered throughout – quiet, intricate details of celebration. Silk organza appliqué of ribbons and bows added a sense of graceful movement.

Once the design was finalised, work began in the Phillipa Lepley Atelier. Multiple fittings were held in The Conservatory, a beautiful Victorian glasshouse adjacent to the Chelsea boutique, where every proportion was refined to achieve a perfectly balanced silhouette. Each embroidery motif was meticulously placed to flatter Violet’s form and enhance the natural flow of the design. The gown passed through its toile stage before silk was cut, and embroidery was meticulously hand-stitched into place.

The accompanying veil, a two-tier silk tulle design, extended the embroidery onto another canvas. Its border of myrtle, jasmine, violets, stars, and suns grew organically along the train, narrowing delicately around the blusher. Most poignantly, the Manners family crest was incorporated, with heraldic lions and fleur-de-lis woven seamlessly into the celestial detailing. Each motif was embellished with tiny pearl beads to shimmer as it caught the light.

The wedding ceremony was held at Bottesford village church, where onlookers gathered warmly to offer their congratulations. As newlyweds, the Garnocks departed in William’s family carriage, the Chamberlain-MacDonald carriage, before returning to Violet’s family home, Belvoir Castle for a joyous reception.

For all its craftsmanship and symbolism, the gown was, above all, Violet’s: elegant, expressive, and entirely her own. Rooted in family tradition yet distinctly personal, every detail reflected her vision.

Recently, Phillipa joined Violet on her Substack, The Garnock Way, for a live discussion and Q&A about the making of her gown – an exclusive opportunity to hear directly from both bride and designer. Watch the full conversation here.

Below: An exclusive look behind the scenes in the bespoke design process.

As featured in Vogue.

Behind the scenes images taken at the Phillipa Lepley Atelier.

Wedding photography by David Wheeler Photography.

Phillipa Lepley is recognised globally as a leading British wedding dress and eveningwear designer, renowned for bespoke couture dresses of the utmost luxury. Her wedding dress shop in London, Chelsea, has over 50 dresses, all of which have been made in England from start to finish at her Atelier.