By Gabriela Afanador
Wednesday 3, June 2026
Photo via @dualipa on Instagram
On May 31st, 2026, Dua Lipa and Callum Turner married at Old Marylebone Town Hall in London with eight people in the room and a Schiaparelli Haute Couture suit that will be studied by fashion editors for years. The venue was a deliberate choice rather than a default one, a neo-classical municipal building in central London that has hosted the registry ceremonies of Paul McCartney and Linda Eastman and Liam Gallagher and Patsy Kensit, a place with enough cultural history embedded in its stone steps to make a simple administrative ceremony feel like a proper event. Lipa captioned the photographs she released on June 2nd with only the date, 31.05.2026, and a white heart, which is the right amount of words for images that already say everything they need to say. One shows the couple on a courthouse bench. One shows Lipa sitting on Turner’s lap, their faces entirely obscured by the wide brim of her sculptural hat, a photograph that manages to be both completely private and completely iconic simultaneously. The paper confetti and flower petals raining down on the town hall steps in the black and white shot at the end of the sequence complete a visual story that feels cinematic without having been staged to feel that way, which is the hardest thing to pull off and the thing Lipa and her longtime stylist Lorenzo Posocco have been doing consistently for years.
The suit is a custom design by Daniel Roseberry for Schiaparelli Haute Couture, cut from ivory cady fabric with subtle baby-blue undertones that function as a quiet interpretation of the bridal tradition of wearing something blue without making any announcement of the fact. The blazer is built with an hourglass silhouette that integrates a blush-colored corset trimmed in delicate white lace, the structured tailoring and the softness of the lace existing in the same garment without competing with each other, and the hip padding that creates the suit’s dramatic lower silhouette is the kind of couture construction detail that is invisible in the photograph and responsible for everything the photograph looks like. The gold bijoux buttons that are one of Schiaparelli’s most recognizable signatures appear here in hand-sculpted evil eye and lion’s head designs, the surrealist vocabulary of the house sitting naturally within the clean lines of the tailoring rather than decorating them from the outside. The matching asymmetric midi skirt drapes with a fluid movement that photographs exceptionally well in motion, which is why the town hall steps sequence works as well as it does. Underneath the blazer, the lace-trimmed blush bustier provides the softness that the structured outer layer needs to feel complete rather than severe.
The References and the Details
The ghost in this look is Bianca Jagger, who married Mick Jagger in St. Tropez in 1971 in a white Yves Saint Laurent Le Smoking jacket with nothing underneath, paired with a matching bias-cut skirt and a wide-brimmed hat, a moment that defined what non-conformist bridal dressing could look like and that has never fully left the conversation since. Lipa and Posocco are clearly aware of this lineage and working with it deliberately rather than accidentally, the Schiaparelli suit occupying the same structural territory as the Saint Laurent original while Roseberry’s additions, the integrated corset, the lace trim, the curved and padded silhouette, update it for a different era without erasing the reference. Where Bianca Jagger’s look had a sharp masculine austerity, Lipa’s has a softness built into its architecture, feminine and structural at the same time in a way that feels genuinely contemporary rather than simply romantic.
Photo via @dualipa on Instagram
The hat deserves its own paragraph. Designed by British milliner Stephen Jones, it is wide-brimmed and sculptural and lined with genuine gold leaf on its underbrim, which was designed to catch natural light and cast a warm flattering glow across the face of the person wearing it, a detail that is both practically brilliant and the kind of thing that only a milliner of Jones’s experience would think to include. The personal connection embedded in the hat is one of the more quietly touching details of the entire wedding: Jones has known Turner since he was an infant, having worked closely with Turner’s mother Rosemary in the fashion industry decades earlier, which means the hat is not simply an accessory but a piece of family history worn on the day. Sheer white satin gloves and Christian Louboutin Miss Z 120mm patent leather pumps in Bianco completed the look with a formality that the casualness of the venue framing made feel perfectly calibrated rather than overdressed. In place of a veil, a bouquet of yellow and white Icelandic poppies, which is the correct flower for someone who has just made a very good decision and wants to carry something that looks like it.
The jewelry was the most financially significant element of the entire ensemble. A Bulgari Serpenti necklace in white gold and diamonds, valued somewhere between $500,000 and $567,000 and previously worn by Lipa to the Brit Awards, provided the contrast between the warmth of the ivory suit and the cold brilliance of the stones that the look needed at the neckline. Matching Bulgari diamond stud earrings kept the ear clean and the focus on the necklace, which was the right hierarchy. The engagement ring, custom designed by Turner with input from Lipa’s sister Rina and her closest friends, features a large round solitaire diamond set in a thick yellow gold cigar band, a Victorian-style setting that reads as bold and tactile in the way that the delicate micro-pavé bands that have dominated celebrity engagement jewelry for years simply do not.
Callum Turner in Ferragamo
Turner wore a custom double-breasted navy suit by Maximilian Davis for Ferragamo, styled by Ben Schofield, and the decision he and Schofield made to color drench the entire look in monochromatic navy, matching the suit jacket and trousers with a navy dress shirt and a navy silk tie in slightly different shades of the same blue, is the thing that makes the groom’s side of this wedding story genuinely interesting rather than simply complementary. The broad shoulders and pointed curved lapels of the suit give it a sculptural presence that holds its own alongside Schiaparelli without competing with it, and the monochromatic styling creates the elongated cohesive silhouette that allows the ivory of Lipa’s suit to read as the focal point of every image without Turner disappearing into the background. Black leather lace-up Derby shoes completed the look with the kind of understated precision that good tailoring always requires at the foot. The overall effect is a groom who looks like he thought carefully about what he was wearing and arrived at something that will not date, which is the standard every wedding outfit should be held to and that very few actually meet.
The days that followed the courthouse ceremony were spent walking a dog in a London park in jeans and plain shirts while the press photographed from a distance, which is the clearest possible statement about where the couple intends to keep the boundary between their public fashion story and their private life. The larger celebration, a three-day event in Palermo, Sicily, for approximately 300 guests including Elton John, Charli XCX, and Mark Ronson, hosted across Villa Igiea and the 17th-century Villa Valguarnera in Bagheria, with 26 custom Atelier Versace looks curated by Donatella Versace for the weekend, was already being planned. But the courthouse came first, and the courthouse, with eight people in the room and confetti on the steps and a $567,000 snake necklace and a bouquet of Icelandic poppies, was the one that mattered most.