How A Fashion Producer Turned Her Childhood Dream Wedding Into A Reality

Fitz-Patrick had obsessed over the idea of getting married at Brompton Oratory since she was a teenager, so she was overjoyed when she found out it was linked to Ed’s school. “It provided the perfect context for us to marry there,” she shares. “And so, a year prior to our wedding date, we dressed in our finest, and knocked on the door of Oratory House and asked to speak to the on-duty priest. Father Doyle would come to guide us throughout with a dry level of humour I never knew I needed.”

When it came to her wedding dress, she knew she wanted to nod to the fact that they had met in the UAE. “Khyeli – being an Emirati couturier based in London – was an obvious choice,” she explains. “I still can’t believe that he agreed to design my wedding dress. It’s such a privilege to work alongside someone with such vision and talent, particularly on something so sentimental. I set about, like I do with almost everything in life, creating a moodboard. This time, however, it was three pages long, filled with images of designs, bridal and otherwise, that I loved. Ahmed instantly picked out the elements that I’d subconsciously included; corsetry, an exaggerated shape and mixed textures. A few weeks later, I received a single sketch. From the dropped waist to the exaggerated shoulder piece, it felt so considered and personal to me, yet so fundamentally Khyeli. It was rooted in the past, yet so modern; timeless, yet playful.”

Although she is someone who typically doesn’t change her jewellery often, she was given two incredibly special family heirlooms just before the wedding. “The first came from my mum – a gold necklace that she’d purchased for her mother when she lived in Saudi Arabia in her early 20s,” she shares. “The second came from Ed’s mum – a sapphire and diamond ring that she had been gifted by Ed’s dad the day Ed was born.”

Her sister, Katy, did her make-up. “Ever since we were little, Katy would do my make-up whenever I had a party to go to. Reliving that childhood routine of ours was incredibly special,” she shares. Meanwhile her hair was styled by her friend Daniel Dyer, inspired by a ’60s reference.

Fitz-Patrick’s bridesmaids were given free rein on their dresses, which were rented from sites like By Rotation and Hurr, with designers including Marchesa Notte, Self-Portrait and 16Arlington in the mix. “I wanted everyone to wear something that they truly loved, without the limitations of colour scheme or matching styles,” she says. The bride’s producer background came into play for the hair and make-up, as she sourced individual beauty references for each bridesmaid, working with James Tarquin and Daniel Dyer on hair and Aimée Twist and Jesse Walker on make-up. Rowell, meanwhile, wore a custom embellished suit, inspired by a McQueen look, accompanied by a Lavallière style tie and a Cuban heel.

On the day, Fitz-Patrick walked down the aisle with her father, followed by her sister, niece and nephew. “The ceremony was solemn and spiritual,” she remembers. “It was a Nuptial Mass interspersed with choral pieces and hymns. We chose two readings. The first was read by Ed’s sister, Amy, and centred around love (as you’d expect!) The second was read by my great friend and mentor, Leah, and touched on humanity and kindness. Incredibly fitting for a person as compassionate as Leah. We asked our mums to serve as our witnesses. I am all too aware that more traditional weddings have a habit of excluding women in significant roles, and it felt important to us to have these vital women play their part.”

Fitz-Patrick was keen that music would play a big part in the day. “I come from a musical background, having performed in Glyndebourne’s children’s chorus for four years and played the violin and piano,” she explains. “We chose to have the Oratory’s renowned choir led by the director of music, Professor Patrick Russill, for the ceremony, accompanied by the Oratory’s organist, Ben Bloor. I walked down the aisle to Handel’s “Eternal Source of Light Divine”. Our recessional was the dramatic “Toccata” by Widor. I practically ran us out of the church as I was so fired up by the music!”

Afterwards, the couple hosted a drinks reception in the Front Parlour and Eating Room at Home House, serving English sparkling wine with glacé cherries and canapés of cured salmon with lemon gel, pickled radish and seaweed, pressed ham hock, dressed crab vol-au-vents and cauliflower panna cotta with caviar. “Our cake was a three-tiered Sun Tavern by Lily Vanilli,” Fitz-Patrick shares. “At some point, all of the cherries went missing and we’re yet to figure out who took them! We also worked with the chefs at Home House on a 200-piece salted caramel croquembouche, which sat as a centrepiece as guests entered the reception. It was later broken down and served to all of the guests. Fortunately, there were some of the choux buns leftover and Ed and I devoured them the next morning!”

Their first dance was to Natalie Cole’s “This Will Be (An Everlasting Love),” choreographed by AJ O’Neill. “The reception, of course, flew by and before I knew it Ed and I were waving everyone off from our ’70s MG and heading for cocktails at the Connaught Bar and dinner at Café Lapérouse, where we shared the beef Wellington,” she remembers.

So, did the big day live up to her girlhood expectations? “I love weddings,” she concludes. “I always have. They’re the ultimate proclamation of love. And that’s exactly what that day felt like to me. It’s been wonderful reminiscing with everyone afterwards and hearing all the different perspectives and stories that we weren’t necessarily part of on the day. It’s a lovely way to prolong the magic of it all.”