INSPIRATION
What are the points of departure of this new collection… ?
 - All and none
Avoiding looking back and oft-repeated clichés, the evolution of wedding-wear – civil or religious - walks hand in hand with socioeconomic changes. The magic potion for getting wedding dress right is, at the end of the day, unpredictable. Dolores, the designer of the “De la Cierva & Nicolás” company, lets herself be carried away by everyday and exuberant things: she recalls a heartbreaking line from Alfredo Le Pera sang by Gardel to a tango rhythm" tuya es su vida, tuyo es su querer [her life is yours, her love is yours]”); and stops before the portrait of the empress Isabella of Portugal painted by Tiziano in Augsburg in 1548; she revives the spirit of Madeleine Vionnet in her vigorous cross cuts;  she evokes the unusual perception that Joan Miró conveys in his “Etoiles en des sexes d’escargots”, 1925); she surrenders to a cold juice melon with jasmine savoured at dusk in a luxury beach-bar in Saint-Tropez; she revives the famous canotier of Gigi, Maurice Chevalier; she retains the imaginary aroma of a lily of the valley in her memory; she pays tribute to the flyer Juan de la Cierva y Codorníu, inventor of the autogiro and the designer's great-uncle…  Fusion, the eclectic doctrine of Potamon and wise combination prevail in this last work, where Dolores Nicolás has plotted and poetically designed a collection which bears the following title: “I can't. I am getting married tomorrow”

LINE
The epicurean silhouette to dress the new urban working girl  who decides to get married soon becomes longer and adapts suggestively and pleasantly to the body, bringing sublime volumes that challenge other more conventional and boring lines, enhanced by architectural and sparkling flourishes. The bride that wears a “De la Cierva & Nicolás” dress steers clear of popular fashionisms
and from other media looks worn by magazine brides. The collection “I can't. I am getting married tomorrow” reinterprets garments integrated in futuristic concepts, albeit with universal references from other eras with important artistic movements. Paris and the roaring twenties reveal the interest and freedom shown by women in choosing their wardrobe.

FABRICS
The departure point is always a novel, beautiful and different fabric. Textures with handmade finishes are the hallmarks of this collection, which boasts natural silks with applications of floral adornments embroidered or overlaid using the dressmaking methods of days gone by. Tulles, taffetas, organzines, new-guipures … coexist and form the perfect "marriage" with ergonomic and technological fabrics: mini-paillettes, natural destructured feathers, glass filaments, paper+silk scales, blurred embroidery work, oneiric braiding, heavenly pleating and lunar ++drawn work.

COLOURS
Beiges with new hues impregnate the whole collection, promoting clean femininity. Dolores' dresses feature subdued tones of ivory that verge on water white, mother of pearl water lilies and “sugar kiss” cream, to say nothing of other new whites, “imperial anisette”, “lily of the valley”, particularly the duet forming the range of beiges that illuminate the stars of a cosmic and brazen universe.

CHARACTERISTICS
Dresses with “soul” that discover the fascinating relationship between body and spirit. They are supposedly appropriate for one of the happiest days of a woman's life; women who “control and give the orders”. Enraptured designs that are great for a tango after the ceremony and before you take off your clothes. (“Y que yo me la llevé al río/ creyendo que era mozuela,/ pero tenía marido”  [And I took her down to the river/thinking her to be a girl/but she had a husband" Federico García Lorca).