A-line
Fitted through the bodice, then flaring gently from the waist into an A. It is the most forgiving silhouette in bridal because it skims rather than clings, and it suits very nearly every body.
If you are unsure where to start, start here. It is also the easiest shape to walk, sit and dance in, which matters more by the end of the night than most brides expect.
Ball gown
A fitted bodice with a full, dramatic skirt. It is the most formal silhouette and the one that reads most obviously as a wedding dress, which is either exactly what you want or exactly what you do not.
Worth knowing practically: a full skirt needs room. In a small venue with tight tables it can be genuinely difficult to move, and a bustle becomes essential rather than optional.
Column and sheath
A straight line from shoulder to hem that follows the body rather than shaping it. It is the most modern of the silhouettes and the least forgiving — every seam shows, so fit has to be exact.
That is precisely why a column gown benefits most from being made to measure rather than altered toward you. Beatrice moulds around the body in this way, with the interest moved to the back.
Fit-and-flare
Fitted through the bodice and hips, then released into a flare below — somewhere between a column and an A-line. It follows the body's shape further down than an A-line does, then gives you movement for the skirt.
Structure matters here, because the gown has to hold the fitted section without pulling. Perdita uses a boned corset against a draped skirt, which is the contrast this silhouette lives on.
Two-piece and separates
A separate bodice and skirt rather than one gown. The practical advantage is real: the two pieces can be fitted independently, which suits any bride whose waist and hip measurements sit at different points on a size chart — which is most brides.
It also gives you options on the day. Portia pairs a sheer flowing skirt with a structured corset, and Miranda takes the idea further with a cape that lifts away for the reception.
Choosing between them
Try the one you think you want, then deliberately try the one you think you do not. Brides change their minds about silhouette more often than about any other single element, and almost always after seeing it on rather than in a photograph.
Then think about the day itself — the venue, the flooring, whether you are outside, how long you will be standing. A gown that photographs beautifully and cannot be walked in is a bad trade.
If your answer sits between two shapes, that is a good reason to have one made for you rather than compromising on one that nearly works.