ELIZABETH CRUM

ELIZABETH CRUM

Elizabeth Crum studied fashion design and pattern making at The School of the Art Institute of Chicago, where she received a bachelor’s in fine arts.

After receiving a fashion grant for her final thesis, she was able to travel to London to study couture techniques in hand embroidery at the Royal School of Needlework. The same year, she was asked to make a custom wedding gown for her sister and fell in love with the bridal design process instantaneously.

After returning to her hometown to work as a designer and stylist, Elizabeth saw the need for a high-end, unique alternative to the traditional bridal salon experience where brides can feel like themselves and celebrate their individuality and style.

Elizabeth Crum Bridal is an independent design studio in Louisville, Kentucky that offers made to order gowns and accessories for the modern bride. Each piece is designed, patterned and sewn on location in the studio with luxury materials and loving attention to detail. Embracing individuality, Elizabeth believes in a thoughtful, no-pressure approach to the traditional wedding shopping experience. As a proud member of the Fair Event Vendors Alliance, Elizabeth Crum Bridal supports equality, fair treatment, and the message that love is for everyone.

Elizabeth’s line of effortless, sophisticated gowns evokes the romanticism and power of Old Hollywood for the modern bride. Trend conscious, not trend driven; she creates classic designs that never go out of style.

Q & A

“I’m a bridal designer in Louisville, Kentucky. I’ve been making wedding gowns for 6 years now, and I’ve been sewing for 20.

I would say a lot of my design aesthetic is informed by fashion industry and a lot of film, actually. A lot of old hollywood film influences come through my work. I really like hand-work and intricate detail. So doing beading, applying lace, silk painting flowers, doing things like that, where I get to bring different disciplines into garment making, I like a lot. I don’t really enjoy drawing, but I’ve come to like that part of the process as well.

I like to use a lot of silk in my work. And I also like to use blends, like I have a hemp-silk blend that I love because it’s a bit more sustainable and it has more structure and longevity. I really like to use stretch fabrics because I’m sort of anti-boning and corsagery. I like comfort. I want my wedding dresses to feel very comfortable. So I use really soft material that you want to touch. That’s kind of my rule.”

2) Did you always know you wanted to be a designer?

“When I was seven, I asked my mom to get me sewing lessons, and I was taught by a woman out of her house. We just made silly stuff like quilts and doll clothes. I really loved it, and it was really the only hobby that “stuck” for me when I was little.

When I was young, really little, I wanted to do costume design for movies. I’ve done that a bit as well, and some styling work. But I didn’t have any interest in bridal design until my sister got married and I made her wedding dress. I kind of fell in love with the process of making something with the bride from start to finish, for them and their style. So I made her gown as a gift, and then a friend of hers got married and I made her dress, a friend of theirs got married and I made their dress, and it just kind of snowballed. So it sort of came upon me naturally, and then I fell in love with it as it was happening.”

3) Do you have any formal education in design?

When deciding where to go to college, I considered going somewhere for costume design. Then I sort of got distanced from that interest, and enrolled at the Art Institute of Chicago, which has a really stellar fashion program. So I did women’s wear design at that school.

In 2012, I went to the Royal School of Needlework in London, which is supported by the royal family. It was me and 12 other women (who were all 60+ years old), so that was really interesting and fun… there was a lot of teatime and hand sewing. There were 8-hour intensive courses of just sewing, by hand, all day. I really loved it. Because it’s a historic, British institution, we studied 16th century embroidery techniques.

4) How do you see your work evolving?

I love doing custom gowns with clients from scratch – picking out materials and different kinds of lace – making something really unique for them. I’m also in the process of developing a made-to-order line that I’ve shown in a boutique in Chicago called Honey and at 21c I had a penthouse trunk show. Those were really exciting challenges that I want to push more by reaching a broader audience and showing my work in a different environment. I think that’s what I’m interested in pursuing next.

5) What are some challenges you’ve experienced in your industry, or as you’ve grown your business?

I think sometimes it’s easy to forget how patient you need to be… and not give up your aesthetic value to make things more simple. I suppose sometimes with the bridal industry it’s difficult because you’re tempted to undersell pieces. That’s hard to fight sometimes.

I think in terms of difficulty in growing a business as an artist, marketing seems to be something that I come into frustration with. It feels like when you’re pouring attention into that, you’re losing creative energy that could be spent on your work. So finding a way to balance that and stay enthusiastic at the same time is a challenge for me.

6) What advice do you have for any upcoming fashion, design, or textile artists?

I the most important value would be perseverance. I think you have to work above and beyond… it’s not a 9-5. Sometimes it’s 9 to midnight. But if you love what you’re doing and you care enough about it, it’s worth it. There’s a tipping point. There’s actually several tipping points.

7) Tell us a little bit about your design process, and how you work with clients on a daily basis.

When a new bride contacts me, I like to have a face-to-face consultation to get to know each other and understand the vibe/ mood of their wedding. I like to know where it is, what she’s interested in, who she is as a person… so that I know what kind of dress to make with her. Everyone’s so different. It’s amazing how much variety we have in designs.

I will have made-to-order options that can be tried on in the studio to determine what silhouette is most in line with what the bride wants. Does she want something that’s going to hug her hips and flare out, or does she want a really ethereal, flowy gown? Does she like sheer fabric? Does she like minimal details or ornate and wild design?

There’s a lot of variety so I like to talk through all the options. Then we look at fabrics together, on the table. After our consultation, I will make up sketches and order swatches if I need to. Sort of assemble a design proposal. And then get notes back, maybe she loves the design but she wants the neckline to be lower, something like that. So we work out the final design.

Then I cut the pattern, cut the fabric, make the gown, and schedule a fitting. The fitting is a fun stage because you get to check in and make sure everything’s right before it’s completely finished. I’ve found a lot of people will bring in jewelry and shoes and it becomes a kind of styling meeting too. Which is fun, because I don’t think you can get that experience at a traditional boutique.

Typically, it takes between 3-6 months from start to finish to make a wedding dress.

8) What is your favorite part of your job?

What I love about bridal design, and making in general, is having something that was an idea or a vague inclination, something you put on paper, turn into something that’s three-dimensional and real. It can be worn and enjoyed. It’s really satisfying to see it active like that.

Usually, brides will send me their whole album after their wedding. It’s so beautiful to see it being enjoyed. It’s even fun to see it get filthy at the bottom and become a mess, because that’s part of their day.

ELIZABETH CRUM

Elizabeth Crum studied fashion design and pattern making at The School of the Art Institute of Chicago, where she received a bachelor’s in fine arts.

After receiving a fashion grant for her final thesis, she was able to travel to London to study couture techniques in hand embroidery at the Royal School of Needlework. The same year, she was asked to make a custom wedding gown for her sister and fell in love with the bridal design process instantaneously.

After returning to her hometown to work as a designer and stylist, Elizabeth saw the need for a high-end, unique alternative to the traditional bridal salon experience where brides can feel like themselves and celebrate their individuality and style.

Elizabeth Crum Bridal is an independent design studio in Louisville, Kentucky that offers made to order gowns and accessories for the modern bride. Each piece is designed, patterned and sewn on location in the studio with luxury materials and loving attention to detail. Embracing individuality, Elizabeth believes in a thoughtful, no-pressure approach to the traditional wedding shopping experience. As a proud member of the Fair Event Vendors Alliance, Elizabeth Crum Bridal supports equality, fair treatment, and the message that love is for everyone.

Elizabeth’s line of effortless, sophisticated gowns evokes the romanticism and power of Old Hollywood for the modern bride. Trend conscious, not trend driven; she creates classic designs that never go out of style.

Q & A

“I’m a bridal designer in Louisville, Kentucky. I’ve been making wedding gowns for 6 years now, and I’ve been sewing for 20.

I would say a lot of my design aesthetic is informed by fashion industry and a lot of film, actually. A lot of old hollywood film influences come through my work. I really like hand-work and intricate detail. So doing beading, applying lace, silk painting flowers, doing things like that, where I get to bring different disciplines into garment making, I like a lot. I don’t really enjoy drawing, but I’ve come to like that part of the process as well.

I like to use a lot of silk in my work. And I also like to use blends, like I have a hemp-silk blend that I love because it’s a bit more sustainable and it has more structure and longevity. I really like to use stretch fabrics because I’m sort of anti-boning and corsagery. I like comfort. I want my wedding dresses to feel very comfortable. So I use really soft material that you want to touch. That’s kind of my rule.”

2) Did you always know you wanted to be a designer?

“When I was seven, I asked my mom to get me sewing lessons, and I was taught by a woman out of her house. We just made silly stuff like quilts and doll clothes. I really loved it, and it was really the only hobby that “stuck” for me when I was little.

When I was young, really little, I wanted to do costume design for movies. I’ve done that a bit as well, and some styling work. But I didn’t have any interest in bridal design until my sister got married and I made her wedding dress. I kind of fell in love with the process of making something with the bride from start to finish, for them and their style. So I made her gown as a gift, and then a friend of hers got married and I made her dress, a friend of theirs got married and I made their dress, and it just kind of snowballed. So it sort of came upon me naturally, and then I fell in love with it as it was happening.”

3) Do you have any formal education in design?

When deciding where to go to college, I considered going somewhere for costume design. Then I sort of got distanced from that interest, and enrolled at the Art Institute of Chicago, which has a really stellar fashion program. So I did women’s wear design at that school.

In 2012, I went to the Royal School of Needlework in London, which is supported by the royal family. It was me and 12 other women (who were all 60+ years old), so that was really interesting and fun… there was a lot of teatime and hand sewing. There were 8-hour intensive courses of just sewing, by hand, all day. I really loved it. Because it’s a historic, British institution, we studied 16th century embroidery techniques.

4) How do you see your work evolving?

I love doing custom gowns with clients from scratch – picking out materials and different kinds of lace – making something really unique for them. I’m also in the process of developing a made-to-order line that I’ve shown in a boutique in Chicago called Honey and at 21c I had a penthouse trunk show. Those were really exciting challenges that I want to push more by reaching a broader audience and showing my work in a different environment. I think that’s what I’m interested in pursuing next.

5) What are some challenges you’ve experienced in your industry, or as you’ve grown your business?

I think sometimes it’s easy to forget how patient you need to be… and not give up your aesthetic value to make things more simple. I suppose sometimes with the bridal industry it’s difficult because you’re tempted to undersell pieces. That’s hard to fight sometimes.

I think in terms of difficulty in growing a business as an artist, marketing seems to be something that I come into frustration with. It feels like when you’re pouring attention into that, you’re losing creative energy that could be spent on your work. So finding a way to balance that and stay enthusiastic at the same time is a challenge for me.

6) What advice do you have for any upcoming fashion, design, or textile artists?

I the most important value would be perseverance. I think you have to work above and beyond… it’s not a 9-5. Sometimes it’s 9 to midnight. But if you love what you’re doing and you care enough about it, it’s worth it. There’s a tipping point. There’s actually several tipping points.

7) Tell us a little bit about your design process, and how you work with clients on a daily basis.

When a new bride contacts me, I like to have a face-to-face consultation to get to know each other and understand the vibe/ mood of their wedding. I like to know where it is, what she’s interested in, who she is as a person… so that I know what kind of dress to make with her. Everyone’s so different. It’s amazing how much variety we have in designs.

I will have made-to-order options that can be tried on in the studio to determine what silhouette is most in line with what the bride wants. Does she want something that’s going to hug her hips and flare out, or does she want a really ethereal, flowy gown? Does she like sheer fabric? Does she like minimal details or ornate and wild design?

There’s a lot of variety so I like to talk through all the options. Then we look at fabrics together, on the table. After our consultation, I will make up sketches and order swatches if I need to. Sort of assemble a design proposal. And then get notes back, maybe she loves the design but she wants the neckline to be lower, something like that. So we work out the final design.

Then I cut the pattern, cut the fabric, make the gown, and schedule a fitting. The fitting is a fun stage because you get to check in and make sure everything’s right before it’s completely finished. I’ve found a lot of people will bring in jewelry and shoes and it becomes a kind of styling meeting too. Which is fun, because I don’t think you can get that experience at a traditional boutique.

Typically, it takes between 3-6 months from start to finish to make a wedding dress.

8) What is your favorite part of your job?

What I love about bridal design, and making in general, is having something that was an idea or a vague inclination, something you put on paper, turn into something that’s three-dimensional and real. It can be worn and enjoyed. It’s really satisfying to see it active like that.

Usually, brides will send me their whole album after their wedding. It’s so beautiful to see it being enjoyed. It’s even fun to see it get filthy at the bottom and become a mess, because that’s part of their day.