'Princess Theodora knew exactly what she wanted': Celia Kritharioti on designing the royal bride's three wedding dresses

On September 28, 2024, the world watched Princess Theodora of Greece wed Matthew Kumar in an unforgettable ceremony at the stunning Metropolitan Cathedral of Athens. The bride radiated elegance in not one, but three bespoke gowns, all crafted by renowned Greek designer Celia Kritharioti.

“It's a true honour to have created the wedding dress of the youngest princess of the family and to know that this dress will be taken good care of for the next generations to have, especially in times where craftsmanship is a deeming light,” the designer told H! Fashion.

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Handmade in Celia’s Athens-based atelier, her designs embody heritage as much as style, therefore it's unsurprising that Greek royals including Queen Anne-Marie and Princess Tatiana, have turned to her for the most prestigious occasions. "Since 1906, queens, empresses, movie stars, aristocrats, and strong women have chosen to be dressed here. It’s the allure, the tradition passed down through generations, and the pride in knowing each piece is handcrafted in Athens,” she explained.

From blending traditional Greek couture with modern bridal aesthetics to detailing the year-long journey of creating the wedding gown, Celia shares every exquisite element of Princess Theodora’s bridal vision...

What was your initial vision for Princess Theodora’s wedding gown, and how did it evolve throughout the design process?

Initially, I envisioned Theodora in a pure white organza lace. As the wedding date had to change due to various circumstances, the design also evolved to meet seasonal needs and requirements. We fostered an open dialogue and subsequent fittings followed to reach a result that justified the unique blend of her personality infused with the principles of our heritage Maison. Theodora’s elegance was the canvas for a creation embodying femininity in its pure natural essence. Floral patterns and soft flowing lines were combined to add a sense of freshness and vitality. The idea was to ultimately create something effortless regal, an ode between tradition and modernity.

What specific materials were used in the creation of Princess Theodora’s gowns, and how were they selected for this special occasion?

The dress was crafted from silk organza, with a truly unique element: hand-painted detailing. Each brushstroke was carefully applied, creating a stunning visual effect that sets this gown apart. In addition to the painting, the dress featured intricate handmade embroidery, designed to complement the overall aesthetic while adding depth and texture. This combination of artistry and craftsmanship ensured that the gown was not only beautiful but also a soulful expression of strong values in contemporary times.

How did you ensure that each of the three gowns - for the pre-wedding party, ceremony, and after-party reflected different aspects of Princess Theodora’s personality and style?

At the pre-wedding party, we opted for simplicity: A low back taffeta silk dress highlighted by a signature princess cut bow.

The ceremonial gown was all about her royal roots and traditional elements combined with our atelier’s bridal architectural traits. The after-party dress had a more celebratory yet functional aspect to complement the joyful spirit of a “happily ever after” bride.

Could you elaborate on the collaboration process with Princess Theodora? How much input did she have in the final designs?

She was 100 per cent hands-on: from Zoom calls to fittings and rehearsal, Princess Theodora knew exactly what she wanted and trusted completely the process from sketch until she wore it to walk down the aisle.

How does the historic significance of your atelier, founded in 1906, influence the couture work you do today, especially for such high-profile events?

Since our atelier was founded in 1906, we have had the honour and privilege of dressing royals and powerful women from all around the globe. This rich heritage has instilled in us a deep understanding of tradition and a passion for innovation. Our gowns are a testament to our ability to blend timeless elegance with contemporary flair seamlessly.

Can you walk us through the year-long creation process of the wedding dress? What were the key milestones during that time?

It can be divided into three stages: the first meeting where we get to know the bride, see what she likes and how she dreams of herself as a bride. Then we look at designs and discuss thoroughly what will make her feel like the best version of herself on her special day. After taking measurements, three fittings will follow to make sure that it fits her perfectly. Depending on the embroidery and the selections of lace and other fabrics, the creation may take from two to six months.

What was the role of the team of six seamstresses and the four artisans who worked on the embroidery? How did their expertise shape the final creations?

I am humbled by the fact that the choice of Princess Theodora, promoted the craftsmanship and tradition of my atelier around the world. The seamstresses of the atelier worked wholeheartedly to create the embroidery under my guidance. It is an art that gradually fades in time, and that makes their work even more precious.

How do you approach combining traditional Greek couture elements with contemporary bridal fashion, especially for a royal bride? How does designing for royalty differ from your other couture clients? Is there more emphasis on certain elements, like tradition or modesty?

Bridal couture is bespoke by default, meaning each design is crafted in a unique way to complement the identity of each amazing client: singular, bold, dynamic or even futuristic. Designing for royalty entails a somehow unique challenge: adhere to family values while helping a girl’s dream dress come to life.

What considerations did you keep in mind for both tradition and modernity in Princess Theodora’s wedding gown? 

I wanted to capture the royal allure of the family heirlooms (tiara veil) in an effortless flowing continuity of embellished yet sophisticated gown.

The off-the-shoulder minidress for the after-party is quite a modern contrast to the ceremony gown. How did you approach creating this more relaxed, yet still glamorous, piece? 

Theodora, like all brides, wanted to have fun at her wedding party and an off-the-shoulder minidress was just the aftermath of that great thought.

What details set apart the gown you designed for Queen Anne-Marie from those you created for Princess Theodora? 

Queen Anne-Marie’s baby blue dress is the epitome of craftsmanship, as it was created with the method of soutache that comes from the French Renaissance. It involved a very detailed process of creating the dress thread by thread by hand and then embroidering it to perfection.

Princess Theodora’s gown was meticulously handcrafted in your Athens atelier. How important is the location and heritage of your atelier in the creation of such masterpieces?

Since 1906, queens, empresses, movie stars, aristocrats and strong women have been dressed here. So, it is the allure, the knowledge that passes from generation to generation and, to be honest, the pride that all creations are made in Athens, Greece by hand.

What was the most rewarding aspect of designing and crafting these three gowns for Princess Theodora’s wedding, and how do you feel it contributes to your legacy as a couture designer?

For generations, royal families with such strong traditions have been entrusting our Atelier with their heirlooms and customs. Apart from the responsibility and excitement to dress a royal princess, it is truly an honour to have created the wedding dress of the youngest princess of the family and to know that this dress will be taken good care of for the next generations to have, especially in times where craftsmanship is a deeming light.