“My mother and father-in-law gifted me these really beautiful ’20s earrings from SJ Phillips the night before my wedding,” shares Wright of the other special details. “And I borrowed an amazing diamond necklace from Berganza, which was insane. I didn’t want to give that one back.” Charles, meanwhile, added his grandfather’s black tie shirt buttons—featuring pearls with diamonds dotted around them—to his Anderson & Sheppard suit.

The bride had planned an outfit change for the party back at Villa Igiea, but The Veil co-founder Adwoa Aboah, who was bridesmaid along with Jazzy de Lisser and Gala Gordon, refused to let her slip out of the gown. “Adwoa kept saying it was too beautiful to take off, so she wouldn’t let me change!” recalls Georgie, adding: “I had to put the cathedral-length veil over my arm while dancing—I’m quite impressed with myself that I didn’t trash it actually!” The same can’t be said for the slip she wore the following night, once she changed out of her second wedding dress, because her feet, by this point, were in agony from 24 hours in Manolo and Aquazzura heels. But even the Jane Bourvis slip had Wright’s signature touch, after she swapped the delicate straps for three pretty beaded versions. The maids of honor—Wright’s two sisters and Ruby Boglione—kept their Georgie-designed dresses firmly on. Ditto the children at the wedding, who wore mosaic-inspired blue and gold dresses fashioned by Wright’s mother-in-law.

Make-up artist Mayumi Oda was tasked with giving the bride “an instant facelift,” thanks to her signature facial massages on both mornings, while “dewy, subtle” make-up was the order of the day. Hairstylist Pierre Saint Sever perfected a natural bun for the wedding day and a structured bun for the party—all guided by Adwoa and Alexandra’s HMU moodboards. “They art directed it all, I hadn’t even thought about it!”

Wright’s energies were directed towards the decor, including the flowers. Green foliage, with specks of white flowers, were draped over the tables in the cloisters giving the entire space a wonderful freshness, while hundreds of candles doubled down on romance. For the second evening, the bride took inspiration from the original frescoes in the villa’s sala basile reception room and populated the place with poppies and irises. But there were plenty more splendors—steered by friend Anna Boglione (of Petersham Nurseries fame) to remark upon—from the ice-filled fountain-cum-crudo bar and the martini station lined by lemon trees to the pink nightclub where Galivanter played and a memorable set, also on a pink stage, by Alan Power & The Take Twos, which saw every guest belt out Oasis to close the night.

The talk of the party? Creative director of food Fulvio Pierangelini’s signature ravioli. “Normally, he only will do ravioli for a group of 30, because he refuses to make them the day before. But he made ravioli for 300 people—that’s 3,200 on the day,” shares Wright. A nod to Wright’s heritage came via a three-tiered pavlova cake dotted with wild strawberries. “We were very lucky,” she says, smiling now.

Of course eagle-eyed Instagrammers will have spotted another bridal look that preceded the Palermo celebrations: a ’20s slip Wright has had for years, which she offset with a piano shawl she found at Portobello Market the week before the couple’s official marriage ceremony in London. Pinned with a borrowed Sandra Cronan brooch, the look was another example of the effortless yet considered style of one of London’s most exciting creatives—one who took her entire network to Italy for a trip to remember.