Today I’d like to tell you about a wedding photo shoot I took part in, set in the beautiful Titignano: a medieval town nestled in the countryside of Umbria.
Here there’s the article by Rossini Photography: enjoy the read!
The winter silence of an enchanted medieval town
The far countryside, a medieval castle-town, the top of a hill facing valleys and lakes, the silence of winter, the magic of the empty lands. These were main ingredients that we put together when we planned this shooting, to which we added a fairy in her silk organdy dress. Like a tale, like a dream, we imagined this airy bride moving weightlessly around a silent town, and then returning to her woods, to her secret hills.
The vendors were accurately selected, especially the castle-town, who had to be remote, authentic medieval, and scenic. Luckily, nestled in the countryside between Rome and Florence, there’s Borgo di Titignano, which offers all of this, plus a wood, wild hills, and spectacular views over the valley and its Corbara lake.
The mood, the concept, the season, the place, all pointed at a restricted colour palette: violet, lily, dusty blue, gold, and brown. Colours we used for the flower arrangements, the table settings, the stationery, and the cake.
Fresh and dried flowers were glamorously mixed in creating the large bouquet and the table settings, while the cake was finely decorated with just one, knobby, branch. The fresh flowers were all seasonal, while the dried flowers and the branch were a classic winter decoration.
The table settings followed the same winter-medieval mood, with a sugar-cane blue linen tablecloth, white plates rimmed in gold, crystal glasses rimmed in gold, golden cutlery, and linen napkins.
The paper for the stationary was obviously parchment, but ethereal, slightly transparent, inscribed with ancient calligraphy and hand sketched flowers, adorned by silk ribbons and closed by golden sealing wax, like an old, magical scroll.
The airy bride was a living fairy, Maryana, with her wavy blond hair, icy eyes, slender figure and innate elegance. She wore the perfect dress, a two pieces with a lightly embroidered and slightly transparent lace corset over a long silk organza gown with many layers of frills, so soft and lightweight that they would flow and bounce at every step or movement.
We opted for soft hair, at first slightly gathered together, then loosen in the cold wind. A plain veil with no embroidery, but long and floaty, that would cover her face like in the ancient, iconic paintings of the Virgin Mary, was coupled with simple, geometrical jewels, with an ancient design.
Source: Rossini Photography